This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Background: International developments suggest that providing clinical ethics services to help clinicians negotiate ethical issues that arise in clinical practice is beneficial and reflects best practice in promoting high ethical standards and patient-centered care. The aim of this study was to explore the needs and experiences of clinical staff members to inform the development of future clinical ethics support. Methods: Health professionals at a large regional health service completed an online survey containing questions about the frequency of ethical and legal (...) issues encountered in clinical practice, the type of situations that gave rise to the ethical and/or legal uncertainty or concern, how clinicians currently address these issues, and what support would be welcome. Results: The survey was completed by 369 staff members, including 61% with more than 10 years in the profession and 51% in nursing/midwifery. Two-thirds (66%) indicated they often considered ethical implications of their clinical decisions, and half (49%) often considered the legal implications. More than half (58%) were often/occasionally concerned about the ethically right thing to do. Patient requests for borderline treatment (47%), staff disagreements about patient care (48%), and patients declining recommended treatment (54%) were the most frequent reasons given for ethical or legal uncertainty. Sixty-nine percent of respondents indicated that the way their department addressed ethical issues could be improved and 85% agreed that there is a need for more discussion on ethical issues. The majority (82%) of respondents had encountered ethically challenging clinical situations where additional support would have helped. Common approaches to issues were discussion with colleagues/supervisor (91.1%), discussion at handover/group forums (50.8%), and consultation with guidelines/protocols (60.9%). Conclusions: A majority of clinical staff members surveyed have encountered ethically/legally challenging cases daily for which they have often sought additional advice. This study indicates that many clinical staff members would welcome some form of additional clinical ethics support including advice and education. (shrink)

Philosophers, novelists, and intercultural comparisons : Heidegger, Kundera, and Dickens /​ Richard Rorty Lifeworlds, modernity, and philosophical praxis : race, ethnicity, and critical social theory /​ Lucius Outlaw Modern China and the postmodern West /​ David L. Hall From Marxism to post-Marxism /​ Svetozar Stojanović Incommensurability and otherness revisited /​ Richard J. Bernstein Incommensurability, truth, and the conversation between Confucians and Aritotelians about the virtues /​ Alasdair MacIntyre The commensurability of Indian epistemological theories /​ Karl H. Potter Pluralism, relativism, and (...) interaction between cultures /​ Bimal K. Matilal The problem of relativism /​ Jiang Tianji. Between relativism and fundamentalism : hermeneutics as Europe’s mainstream political and moral tradition /​ Ferenc Feher Conceptual schemes and linguistic relativism in relation to Chinese /​ A.C. Graham The origins of the question : four traditional Japanese philosophies of language /​ Thomas P. Kasulis Meaning as imaging : Prolegomena to a Confucian epistemelogy /​ Roger T. Ames On the dual nature of traditional Chinese thought and its modernization /​ Li Zhilin A planetary macroethics for humankind : the need, the apparent difficulty, and the eventual possibility /​ Karl-Otto Apel Reasonable challenges and preconditions of adjudication /​ Antonio S. Cua The French Revolution and the Holocaust : can ethics be ahistorical? /​ Hilary Putnam Tradition and moral progress /​ Joel J. Kupperman The shape of artistic pasts, East and West /​ Arthur C. Danto. Surrealistic distortion of landscape and the reason of the milieu /​ Megumi Sakabe Why art changes /​ Richard Wollheim The transcendental in a comparative context /​ Frederick J. Streng Reflections on religious pluralism in the Indian context /​ Margaret Chatterjee Three enduring achievements of Islamic philosophy /​ Lenn E. Goodman Two dimensions of religion : reflections based on Indian spiritual experience and philosophical traditions /​ G.C. Pande Between nationalism and nomadism : wondering about the languages of philosophy /​ Graham Parkes The discourse of cultural authenticity : Islamist revivalism and enlightenment universalism /​ Aziz Al-Azmeh Traditional political values and ideas : an examination of their relevance to developments in contemporary African political order /​ Kwame Gyekye On the interpretation of traditional cultures /​ Maria L. Herrera. The concept of progress and cultural identity /​ Roop Rekha Verma Moses, Hsüan-tsang, and history /​ Agnes Heller Secularism : sacred and profane /​ Daya Krishna Scientific progress and content loss /​ Larry Laudan A dialectical view of scientific rationality and progress /​ Marcello Pera Scientific progress reconsidered /​ Ilkka Niiniluoto Does progress in science lead to truth? /​ Lorenz Krüger. (shrink)

In these essays, Deutsch's critics both praise and attack him, and he offers his thoughtful responses.

This volume is a “state-of-the-art‘ assessment of comparative philosophy written by some of the leading practitioners of the field. While its primary focus is on gaining methodological clarity regarding the comparative enterprise of “interpreting across boundaries,‘ the book also contains new substantive essays on Indian, Chinese, Japanese, and European thought. The contributors are Roger T. Ames, William Theodore de Bary, Wing-tsit Chan, A. S. Cua, Eliot Deutsch, Charles Hartshorne, Daya Krishna, Gerald James Larson, Sengaku Mayeda, Hajime Nakamura, Raimundo (...) Panikkar, Karl H. Potter, Henry Rosemont, Jr., Ben-Ami Scharfstein, Ninian Smart, Fritz Staal, and Frederick J. Streng. Comparative or cross-cultural philosophy can be seen as a relative newcomer to the field of philosophy. It has its antecedents in the emergence of comparative studies in nineteenth-century European intellectual history, as well as in the sequence of East-West Philosophers’ Conferences at the University of Hawaii, which began in 1939. This book will prove to be of great significance in helping to define a field that is only now becoming fully self-conscious, methodologically and substantively, about its role and function in the larger enterprises of philosophy and comparative studies. (shrink)

Art v. aestheticism : the case of Walter Pater -- The importance of T.E. Hulme -- A craving for reality : T.S. Eliot today -- Wallace Stevens : metaphysical claims adjuster -- The permanent Auden -- The first half of Muriel Spark -- The qualities of Robert Musil -- James Fitzjames Stephen v. John Stuart Mill -- The legacy of Friedrich Nietzsche -- The world according to Satre -- The perversions of Michel Foucault -- The anguishes of E.M. Cioran (...) -- The trivialization of outrage -- "The two cultures" today -- Frances Fukuyama and the end of hisory -- Josef Pieper : leisure and its discontents. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:88 Reviews EPISTEMOLOGY OFMODERNISM WILLIAM R. EVERDELL History/ St. Ann'sSchool Brooklyn, NY 11201, USA [email protected] Ann Banfield. The Phantom Table:Woolf,Fry,Russelland the Epistemology of Modernism. Cambridge and New York: Cambridge U.P., 2000. £35.00; US$49.95. In Virginia Woolf's difficult masterpiece, The Waves(1931),each of several separate interior monologues-"streams of consciousness" in the American critical idiom-is separated from the next by an interpolated "Interlude". The interior monologues are assigned co different characters, bur (...) the Interludes are rendered from no perspectiveat all, verymuch like the "Time Passes"chapter of Woolf's earlier and better known novel, Tothe Lighthouse (1927).The passive voice and the demonstrative and indefinite pronotms are essential, removing from the scene not only the characters' points of view, but the author's as well. Numbered among the consequences of the new twentieth-century technique of interior monologue, the Interludes can be accepted today as one more trick of literary "Modernism", but for Woolf it was new, and the task of preventing any of her Interludes from becoming just another report from the rypical "omniscient narrator" of Victorian fiction was one of the most demanding she ever set herself as a writer. Like her friend the Post-Impressionist critic Roger Fry, she wanted to analyze the world outside the self into its smallest sensible elements, then show human selvesasthey formed by accumulating the experience of these myriad, random, discontinuous components, and finally to recombine these components in their two kinds, selvesand sense-able things, into a meaningful whole-a work of art. Rejecting both the idealism of Bradley and the British philosophical generation of the 1890sand the naive positivist materialism coming out of the 1850s, Bertrand Russell eventually settled on an ontology most philosophers call "realist " in that it rejected the view that the world accessible to the senses was no more than a mental construct and considered it naive to assign the origin of subjectivity to matter. The material world was, Russell thought, actually external -"out there". He did think, however,that all we knew of the external world was what wassensed by the sensesand pictured by the mind. He alsoconcluded (in essayslike "The Relation of Sense-data to Physics"written in 1910-17)d1at both that world and what we knew of it was presented in very small parts, and Reviews 89 analyzable down to them, or, in other words, that both ontology and epistemology were atomized. Each mind, with its senses, occupied, he thought, one of an infinite number of occupied and unoccupied "perspectives", each of which Lmiquely focused che "sensibilia"-whatever was perceived in che external world-like a Leibnizian monad. Machemacicallogic, on which Russell set che highest store, would be able, he thought, to bring together perspectives by providing a minimal secof cruchswhich, though abscracc,were objective in che sense chaccheywere noc private and could be agreed to by all. Something similar though rougher mighc be done for chesensibilia in cheworld "ouc chere" by che science of physics. Did Virginia Woolflearn from Bertrand Russell?To a latcer-dayacademic ic sounds too urrerly improbable, for che simple reason (obvious to academics) chat anyone who has made icto the upper levelsof English literature must have chosen cheseparticular heights to scale because the trail was so blessedlyfreeof chosenasry mathematical burrs and logical reazles,and the air so filledwith che pure chatter of French phenomenologisrs, that no hiker would ever have to struggle with analytical philosophy again. Lessmetaphorically, the separation of departments of literature from those of philosophy has come so close to divorce chat few in U.S. English Departments can make head or cail of che graduate thesis that one of Russell's philosophy students wrote on F.H. Bradley, and fewer still can trace the term "objective correlative" used by thac student (who was in fact T. S. Eliot) back to an early work of Husserl. Meanwhile, ic is taken for granted by those in Philosophy that there are no ideas worth discussing in Woolf, or, indeed, in any other novelise,greacthough she may be, Lmlessone is to descend from ontology and epistemology to the foothills of ethics and politics, or worse, aesthetics. (Among... (shrink)

When the Bloomsbury critics, Roger Fry and Clive Bell, introduced an aesthetically-conservative English public to recent Parisian avant-garde painting, they explained its disconcerting imagery by way of a late-nineteenth-century metaphysical tradition which had long intrigued musicians and Symbolist writers on the European continent. The Post-Impressionist aesthetic they devised advocated a direct response to the formal ingenuity of the work of art without recourse to prior knowledge and it emphasized the significance of visionary genius albeit to the detriment of narrative (...) acuity and technical accomplishment, values hitherto upheld by the Edwardian art Establishment. The provocation was calculated, the author suggests, and its domestic ramifications were predictable: the reaction of an Anglo-conformist public in New York, on the other hand, was anything but. Recreating an Anglo-American dialogue inspired by Fry and Bell, and framed within a period encompassing Fry's Manet and the Post-Impressionists exhibition in 1910 and Alfred Barr Jr's Cubism and Abstract Art exhibition in 1936, the author demonstrates how key components of Bloomsbury's aesthetic bypassed a pre-existent modernist practice in New York and were taken up instead by an urban intelligentsia which adapted them to the requirements of an increasingly professionalised institutional practice during the 1920s. (shrink)

Art and Form: From Roger Fry to Global ModernismROSESAMPenn State University Press. 2019. pp. 224. £71.95.

This study is a major reappraisal of Virginia Woolf's relationship to Bloomsbury and the aesthetic and philosophical developments of her time. Through extensive archival research, Ann Banfield offers the first full analysis of Woolf's engagement with the theories of a remarkable trinity of thinkers: G. E. Moore, Bertrand Russell, and Roger Fry.

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George Eliot, (...) Jean-Auguste Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 462-464 [Access article in PDF] The Phantom Table: Woolf, Fry, Russell and the Epistemology of Modernism,by Ann Banfield; 452 pp. Cambridge: Cambridge University Press, 2000, $55.00. We have grown accustomed to reading Woolf philosophically. Lucio Ruotolo, Mark Hussey, Gillian Beer, and Pamela Caughie are just a few notable scholars who have used philosophical texts and themes to shed light on Woolf's novels and life, (...) but Ann Banfield's The Phantom Table marks the beginning of a new approach. Contrary to the poststructuralist readings of the last two decades, Banfield treats Woolf as a "philosophical realist" (p. 294), an interpretation that presupposes that "Truth, although logically constructed, remains nonetheless objective, a discovery, as opposed to a creation, of the mind" (p. 94). To justify this approach, Banfield makes a case for privileging Bertrand Russell's "symbolic logic" (p. 42) as "a key if limited influence on Woolf's thinking about language" (pp. 42-43). Simply appropriating elements of Russell's rigorous epistemology, however, is not enough to determine Woolf's thinking, for as Banfield claims: "Woolf's philosophically inflected aesthetic is not one Russell would have foreseen" (p. 54). Roger Fry's astute reflections on Post-Impressionism aesthetics complement Russell's philosophical approach and thereby provide Woolf with a framework for the "novel's realism [which] must relate two competing realities, the private world and the public persona" (p. 324). Through an extraordinarily insightful analysis of the work of Russell and Fry, Banfield offers an intelligent interdisciplinary interpretation of the rigorous epistemological presuppositions at the base of Woolf's aesthetic.Central to Banfield's project is the conviction that reality is mind-independent (p. 101). On this view, "modern fiction ultimately aims to describe a reality beyond privacy" (p. 298), but to understand how we can access that reality we must carefully distinguish sensations, sense-data, and sensibilia. According to Russell, sensations are the private experiences or awareness of a subject, whereas a sense-datum is "that external object of which in sensation the subject is aware" (p. 70). Sensibilia, the lynchpin of Russell's and Banfield's theory, have the same ontological status as sense-data, though they are not necessarily data to a specific mind. Banfield cleverly articulates the ontological priority of sensibilia by reversing Berkeley's famous dictum: "What brings about" sensibilia's "actualization is the perspective's occupation by a subject and the corresponding interception of sensibilia by sense-organs located in time and space" (pp. 74-75). Sensibilia need not be perceived to exist, which places the perceiving subject at the mercy of sensibilia, rather than making sensibilia ontologically dependent upon the perceiving mind.Given the primacy of sensibilia, the epistemological "goal is now to leave one's perspective and imaginatively project oneself into other perspectives, even the possible ones inhumanly occupied, to experience the world as it would be without the thinker" (p. 213). According to this system, the perceiving [End Page 462] subject and the modernist artist become irrelevant because they can inhibit our experience and/or understanding of sensibilia. Eliminating the subject and effacing the author, therefore, become necessary so that "artistic creativity" (p. 173) is given free flow, which means that for art to achieve its goal of seeing "the world 'as far as possible as it is in itself, and not merely through the distorting medium of personal desire'" (p. 382), the death of the subject is mandatory—though this death of the subject differs considerably from Roland Barthes's, Michel Foucault's, and Paul de Man's. Once the subject is eliminated, which occurs in Woolf's novels according to Banfield, the novelist will be able to create a "method of multiple perspectives" which functions as a "route to wider knowledge" (p. 312) of sensibilia.In the last part of the book, Banfield examines how "Fry's aesthetic derives from analytic philosophy" (p. 248) and then argues that Woolf incorporates much of this aesthetic into her work. Fry makes a clear distinction between Impressionism and Post-Impressionism. Impressionism represents the "totality... (shrink)

A distinctive feature of recent popular science writing is the parade of books by distinguished scientists – from Roger Penrose to Francis Crick and Gerald Edelman – which attempt solutions to the traditional problems of mind and consciousness. The Feeling of What Happens by neuroscientist Antonio Damasio lies squarely in this tradition, as did his earlier Descartes’ Error. These books, like those of Penrose, Crick and others, attempt a difficult double task: to explain scientific results to the general reader (...) and to use these results to illuminate the deepest mysteries of the human mind. Their declared aim is not to debunk the traditional philosophical debates and problems, but to solve them by the employment of rigorous science... (shrink)

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)