Introduction: Conversion and the practice of transformation -- The philosophical structure of Jonathan Edwards's religious affections -- Habit, habit change, and conversion in C.S. Peirce -- Reconstructing faith : religious overcoming in Dewey's pragmatism -- Transforming obligation in William James -- Dwelling in absence: the reflective origin of conversion -- Creative transformation : the work of conversion -- The evasion of conversion in recent American philosophy.

Did Beethoven and Mozart have more in common with each other than Clapton and Hendrix? The current research demonstrated the widely reported Mozart Effect as only partly significant. Event-related brain potentials were recorded from 16 professional classical and rock musicians during a standard 2 stimulus visual oddball task, while listening to classical and rock music. During the oddball task participants were required to discriminate between an infrequent target stimulus randomly embedded in a train of repetitive background or standard stimuli. Consistent (...) with previous research, the P3 and N2 ERPs were elicited in response to the infrequent target stimuli. Own genre preference resulted in a reduction in amplitude of the P3 for classical musicians exposed to classical music and rock musicians exposed to rock music. Notably, at the pre-attentive stage of processing beneficial effects of exposure to classical music were observed for both groups of musicians. These data are discussed in terms of short and long-term music benefits on both conscious and unconscious cognitive processes. (shrink)

Edouard Machery's paper, ‘The Folk Concept of Intentional Action: Philosophical and Psychological Issues, ’ puts forth an intriguing new hypothesis concerning recent work in experimental philosophy on the concept of intentional action. As opposed to other hypotheses in the literature, Machery's 'trade-off hypothesis' claims not to rely on moral considerations in explaining folk uses of the concept. In this paper, we critique Machery's hypothesis and offer empirical evidence to reject it. Finally, we evaluate the current state of the debate concerning (...) the concept of intentional action, and motivate skepticism toward the plausibility of any parsimonious account of the relevant data. (shrink)

This paperback edition is fully updated with new chapters on the livestoick crisis, fishing and BSE and a layman's guide introduction to philosophical concepts, ...

Argues that the only way to understand the Confucian vision of the consummate moral life is to take the tradition on its own terms.

Roger North's The Musicall Grammarian 1728 is a treatise on musical eloquence in all its branches. Of its five parts, I and II, on the orthoepy, orthography and syntax of music, constitute a grammar; III and IV, on the arts of invention and communication, form a rhetoric; and V, on etymology, consists of a history. Two substantial chapters of commentary introduce the text, which is edited here for the first time in its entirety: Jamie Kassler places his treatise within (...) the broader context not only of North's musical and non-musical writings but also their relation to the intellectual ferment of the seventeenth and eighteenth centuries and Mary Chan describes physical and textual aspects of the treatise as evidence for North's processes of thinking about musical thinking. (shrink)

Descartes and the last Scholastics: objections and replies -- Descartes and the Scotists -- Ideas, before and after Descartes -- The Cartesian destiny of form and matter -- Descartes, Basso, and Toletus: three kinds of Corpuscularians -- Scholastics and the new astronomy on the substance of the heavens -- Descartes and the Jesuits of La Fleche: the Eucharist -- Condemnations of Cartesianism: the extension and unity of the universe -- Cartesians, Gassendists, and censorship -- The cogito in the seventeenth century.

This volume brings together much of the most influential work undertaken in the field of virtue ethics over the last four decades. The ethics of virtue predominated in the ancient world, and recent moral philosophy has seen a revival of interest in virtue ethics as a rival to Kantian and utilitarian approaches to morality. Divided into four sections, the collection includes articles critical of other traditions; early attempts to offer a positive vision of virtue ethics; some later criticisms of the (...) revival of virtue ethics; and, finally, some recent, more theoretically ambitious essays in virtue ethics. (shrink)

This innovative study posits that myths in general, and Greek theogonic myth in particular, have a latent meaning that is responsible both for the emotional energy inherent in myths, and for the special attraction they have even to those who no longer believe in their literal meaning. Caldwell describes, in clear and comprehensible language, aspects of psychoanalytic theory relevant to the understanding of Greek myth, implementing a psychoanalytic methodology to interpret the Greek myth of origin and succession, particularly as (...) stated in Hesiod's Theogony. In reassessing this work, which tells the story of the world's beginning from unbounded Chaos to the defeat of the Titans, Caldwell addresses several unexplained problems-- why does the world begin with the spontaneous emergence of four uncaused entities, and why in this particular order? Why does Ouranos prevent his children from being born by confining them in their mother's body? Why is Ouranos castrated by his son, and why is Aphrodite born from the severed genitals? Why is it always the youngest son who overthrows his father, the sky-god, and what is the logic of the steps taken by Zeus to prevent the same thing happening to him? Presenting a new definition and analyses of the psychological functions in myth, this new study should appeal to a wide range of classicists, teachers and students of mythology, and those interested in the application of psychoanalytic methods to literature. (shrink)

In this lucid and engaging introductory volume on the nature of society, Roger Trigg examines the scientific basis of social science and shows that philosophical presuppositions are a necessary starting point for the study of society.

My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give a systematic account of aesthetic experience. I argue that empiricism involves a certain theory of meaning and truth; one problem is to show how this theory is compatible with the activity of aesthetic judgment. I investigate and reject two attempts to delimit the realm of the aesthetic: one in terms of the individuality of the aesthetic object, and the other in terms of (...) 'aesthetic properties'. I go on to argue that aesthetic descriptions must not be thought to ascribe properties to their objects, and I show how the suggestion that they are non-descriptive need not conflict with the empiricist view of meaning. The problem is then seen to lie with the analysis of the 'acceptance-conditions' of aesthetic descriptions. I counter certain idealist objections to this approach, and then present a theory of imagination, in terms of which the acceptance conditions of aesthetic judgments may be described. This theory attempts to explain how the element of thought in aesthetic appreciation may become inseparable from an experience of its object, and how the aesthetic emotions are both like and unlike their equivalents in life. The first part concludes with an analysis of the general conditions of aesthetic experience. I try to show that aesthetic experience can be described in terms of certain 'formal' properties, independently of its material object. In the second part I am concerned to show that this empiricist theory of aesthetics does not, like most empiricist theories, make nonsense of our appreciation of art. First, I attempt to show that 'understanding' art is not merely a cognitive process, but involves certain experiences that can be accounted for in terms of the previous theory. I then analyse the concepts of representation and expression, and in the course of this analysis I attempt to refute what I take to be the most serious rival analysis of our appreciation of art - the semantic theory. (shrink)

_The Undiscovered Dewey_ explores the profound influence of evolution and its corresponding ideas of contingency and uncertainty on John Dewey's philosophy of action, particularly its argument that inquiry proceeds from the uncertainty of human activity. Dewey separated the meaningfulness of inquiry from a larger metaphysical story concerning the certainty of human progress. He then connected this thread to the way in which our reflective capacities aid us in improving our lives. Dewey therefore launched a new understanding of the modern self (...) that encouraged intervention in social and natural environments but which nonetheless demanded courage and humility because of the intimate relationship between action and uncertainty. Melvin L. Rogers explicitly connects Dewey's theory of inquiry to his religious, moral, and political philosophy. He argues that, contrary to common belief, Dewey sought a place for religious commitment within a democratic society sensitive to modern pluralism. Against those who regard Dewey as indifferent to moral conflict, Rogers points to Dewey's appreciation for the incommensurability of our ethical commitments. His deep respect for modern pluralism, argues Rogers, led Dewey to articulate a negotiation between experts and the public so that power did not lapse into domination. Exhibiting an abiding faith in the reflective and contestable character of inquiry, Dewey strongly engaged with the complexity of our religious, moral, and political lives. (shrink)

Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as an (...) introduction to subsequent chapters. It also includes an essay that reviews current theories of literary criticism. The second part is devoted to musical aesthetics and contains the theoretical core of the work. Here Scruton describes the contours of aesthetic understanding, and defends the view that the object of aesthetic experience is inherently significant, even when it has no "content" that can be described in propositional terms. He rebuts the view that music is representational, and in the third part goes on to propose a theory of representation whereby to refute the suggestion that photography is a representational art. This third section also contains a study of film. The final part comprises essays relating aesthetic judgment to the understanding of culture, humor, and design. It covers many subjects, including the prose works of Samuel Beckett and the architecture of Leninism. The essays in this book form parts of a single intellectual enterprise, which is to give analytical foundations to the criticism of literature, visual art, music, and culture. (shrink)