Several studies have revealed the presence in human DNA of thousands of endogenous retrovirus genomes, or HERVs. Many HERVs are related to extant retroviruses that infect other vertebrates and some have been present in the germ line of primates for millions of years. Although the HERVs that have been isolated are defective and thus do not encode infectious retroviruses, there may be HERVs that are capable of infection. In addition, because HERVs are so ancient in the human lineage, evolution of (...) the human genome may have included the acquisition of some HERV genes for strictly cellular functions. (shrink)

The editors welcome letters from readers, although we cannot guarantee that all will be published. To ensure timeliness, correspondents must respond to an article within seven weeks and not exceed two double‐spaced pages. Letters become the property of the editors and may be edited and shortened at our discretion.

The editors welcome letters from readers, although we cannot guarantee that all will be published. To ensure timeliness, correspondents must respond to an article within seven weeks and not exceed two double‐spaced pages. Letters become the property of the editors and may be edited and shortened at our discretion.

The aspect of The Meaning of Human History which is likely to be of greatest interest to readers of this journal is also that in which Cohen went farthest beyond his previous analyses. Running through the present work, expressing itself in variant forms in varied contexts, is Cohen's insistence that in the historical process discreteness and continuity are equally real and equally significant. This thesis is not, of course, new; nor does it come as a surprise to anyone (...) familiar with Cohen's other work. However, it is important to see how he deals with history on this basis, since all philosophies of history, whatever their orientation, must ultimately face the issue of the sense in which the historical process is both continuous and discontinuous, and must seek to determine the relations of historical parts to historical wholes. (shrink)

Beginning with the challenging remark that "analytical philosophy deserves a better rationale than it has so far been given", this book proceeds to do just that. This is not to say, of course, that here we have a perfect rationale that could not in any way be questioned, but it is to say that we have a refreshing and closely-reasoned justification of analytical philosophy that will turn many of its previous criticisms into straw-man attacks, and force its critics to come (...) to terms with Cohen's account. Indeed, as one would expect from Cohen's previous work, he does "analysis" with intelligence, originality, rare ratiocinative energy and intensity, and considerable interdisciplinary relevance. By the latter I mean that the book is not merely a piece of metaphilosophy, but also a noteworthy contribution to the theory of reasoning, the theory of rationality, the philosophy of psychology, and the philosophy of computer science. Cohen makes a plea for what he calls a "semantic descent," in addition to semantic ascent à la Quine, a descent which makes it imperative to do more than just armchair metaphilosophizing and to get involved in substantive philosophical issues. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas on Art and AestheticismGetting “Reality and Its Shadow” RightRichard A. Cohen (bio)1. The Standard Misreading of Levinas on Arta. IntroductionMuch has been written in the secondary literature about Levinas and art and about Levinas and literature more specifically. In addition to Maurice Blanchot’s observations in The Writing of the Disaster, which is more a primary text than a secondary source, two exceptional studies — well-written, insightful, (...) nuanced, erudite — in English on Levinas and literature are Robert Eaglestone’s book of 1997 entitled Ethical Criticism: Reading after Levinas and Jill Robbins’s 1999 book entitled Altered Reading: Levinas and Literature.1 No doubt there are other fine studies, but these two will be sufficient for our purposes. They are scholarly in the best sense, effecting to understand Levinas first of all, hence hermeneutically sympathetic, and at the same time taking critical distances, articulating reservations, basically unconvinced by Levinas’s claims. Unfortunately, given all their considerable virtues, these books are also hampered by a serious flaw, one that unhappily appears in all too much of the secondary literature on Levinas and art. [End Page 149] Despite their good will and intelligence, both books fundamentally misunderstand the relation of Levinas’s thought on and to art, and thus also his relation to literature more specifically, because they misconstrue the nature and the status of Levinas’s account of art within his philosophy. Surely this is serious and unfortunate. One aim of the present essay is to expose this flaw, despite its pervasiveness and entrenchment. Another aim, more positive and ultimately the means by which to accomplish the first, is to present a faithful account of what Levinas really has to say about art.Counter to the misgivings leveled against Levinas in the above two books, not to mention the many commentaries that repeat more or less the same things, the present article proposes two theses in his defense. To the charge that Levinas has misrepresented art, my first claim is that Levinas does not misrepresent art and, indeed, that he has a fine sense of it. To the charge that Levinas is hostile to art, my second claim is that Levinas is not at all hostile to art, one sign of which — noticed by both critics — is the literary and aesthetic references that abound in his own writings. That is to say, contrary to his critics, Levinas grasps quite well the nature and the value of art. His own literary practices, found throughout his own writings, some of them quite obvious, such as exegeses of Shakespeare and repeated citations taken from Dostoevsky and Grossman, not to mention a wealth of other references and allusions to artists and writers, and, of course, including explicit comments and discussions about art, all these are consistent with and help underwrite my larger claim that Levinas understands and values art and, indeed, that he understands it very well and values it highly.To be sure, and no one can mistake this, Levinas’s philosophy is ultimately an ethics and not an aesthetics. The ultimum verbum belongs not to aesthetics but to moral responsibility and the quest for justice. It is here, for those who would make aesthetics ultimate, that the rub lies, here that we find the spur and speculum for their distortion and darkening of Levinas on art. All the more necessary, then, are the two sides of the present essay: to understand properly what Levinas is saying by means of a careful reading of his one article devoted entirely to [End Page 150] art, “Reality and Its Shadow,” to discern in as unprejudiced a fashion as possible what Levinas actually has to say about art and its value, and by so proceeding to unmask the inadequacies of Levinas’s aesthetic critics. Getting Levinas right certainly does not foreclose criticism, by any means. It is, nevertheless, the first step to serious criticism or to acceptance. Getting him wrong, however, goes nowhere at all, because it has not even begun.Inasmuch as their mishandling of Levinas is in an important sense basically the same, in the following I treat Robbins’s Altered Reading and Eaglestone’s... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas on Art and AestheticismGetting “Reality and Its Shadow” RightRichard A. Cohen (bio)1. The Standard Misreading of Levinas on Arta. IntroductionMuch has been written in the secondary literature about Levinas and art and about Levinas and literature more specifically. In addition to Maurice Blanchot’s observations in The Writing of the Disaster, which is more a primary text than a secondary source, two exceptional studies — well-written, insightful, (...) nuanced, erudite — in English on Levinas and literature are Robert Eaglestone’s book of 1997 entitled Ethical Criticism: Reading after Levinas and Jill Robbins’s 1999 book entitled Altered Reading: Levinas and Literature.1 No doubt there are other fine studies, but these two will be sufficient for our purposes. They are scholarly in the best sense, effecting to understand Levinas first of all, hence hermeneutically sympathetic, and at the same time taking critical distances, articulating reservations, basically unconvinced by Levinas’s claims. Unfortunately, given all their considerable virtues, these books are also hampered by a serious flaw, one that unhappily appears in all too much of the secondary literature on Levinas and art. [End Page 149] Despite their good will and intelligence, both books fundamentally misunderstand the relation of Levinas’s thought on and to art, and thus also his relation to literature more specifically, because they misconstrue the nature and the status of Levinas’s account of art within his philosophy. Surely this is serious and unfortunate. One aim of the present essay is to expose this flaw, despite its pervasiveness and entrenchment. Another aim, more positive and ultimately the means by which to accomplish the first, is to present a faithful account of what Levinas really has to say about art.Counter to the misgivings leveled against Levinas in the above two books, not to mention the many commentaries that repeat more or less the same things, the present article proposes two theses in his defense. To the charge that Levinas has misrepresented art, my first claim is that Levinas does not misrepresent art and, indeed, that he has a fine sense of it. To the charge that Levinas is hostile to art, my second claim is that Levinas is not at all hostile to art, one sign of which — noticed by both critics — is the literary and aesthetic references that abound in his own writings. That is to say, contrary to his critics, Levinas grasps quite well the nature and the value of art. His own literary practices, found throughout his own writings, some of them quite obvious, such as exegeses of Shakespeare and repeated citations taken from Dostoevsky and Grossman, not to mention a wealth of other references and allusions to artists and writers, and, of course, including explicit comments and discussions about art, all these are consistent with and help underwrite my larger claim that Levinas understands and values art and, indeed, that he understands it very well and values it highly.To be sure, and no one can mistake this, Levinas’s philosophy is ultimately an ethics and not an aesthetics. The ultimum verbum belongs not to aesthetics but to moral responsibility and the quest for justice. It is here, for those who would make aesthetics ultimate, that the rub lies, here that we find the spur and speculum for their distortion and darkening of Levinas on art. All the more necessary, then, are the two sides of the present essay: to understand properly what Levinas is saying by means of a careful reading of his one article devoted entirely to [End Page 150] art, “Reality and Its Shadow,” to discern in as unprejudiced a fashion as possible what Levinas actually has to say about art and its value, and by so proceeding to unmask the inadequacies of Levinas’s aesthetic critics. Getting Levinas right certainly does not foreclose criticism, by any means. It is, nevertheless, the first step to serious criticism or to acceptance. Getting him wrong, however, goes nowhere at all, because it has not even begun.Inasmuch as their mishandling of Levinas is in an important sense basically the same, in the following I treat Robbins’s Altered Reading and Eaglestone’s... (shrink)

Ce livre offre un parcours en compagnie d'ecrivains, philosophes et poetes, parmi les plus marquants de la deuxieme moitie du XXe siecle. Son point de depart est une question qui porte sur l'essence meme de la litterature: que signifie aimer avec passion une oeuvre et l'homme qui est derriere?... Comment vit-on avec? Et qu'y trouve-t-on pour vivre avec soi meme, apprendre a vivre ainsi? Il s'agit donc d'un livre ecrit a la premiere personne par un auteur qui aura eu la (...) chance de croiser le chemin de quelques grandes figures de la pensee francaise contemporaine: Edmond Jabes, Jacques Derrida et Andre du Bouchet, Maurice Blanchot de facon plus lointaine. On y trouvera pourtant une volonte clairement pedagogique. Didier Cahen reprend et etudie les enonces multiples de ces createurs de la postmodernite sur l'articulation de la pensee et de la litterature ou sur l'espace commun de la philosophie et de la poesie. Dans la foulee, il aborde des questions plus ouvertes, qui touchent a l'intuition de l'autre, au non-savoir qu'explore la face cachee de la litterature. Comme le demontrent les oeuvres singulieres de Roger Laporte et de Marcel Cohen, ecrire c'est mettre sa vie en jeu, se fier a ce qui vient, suivre l'ordre de l'Autre... en se jouant de l'etre. Indiscipline au coeur des disciplines, cet exercice de la litterature traverse ainsi les genres, engage son ecriture au-dela des lignes du livre, delivre le message qui se lit a livre ouvert. (shrink)

Color provides an instance of a general puzzle about how to reconcile the picture of the world given to us by our ordinary experience with the picture of the world given to us by our best theoretical accounts. The Red and the Real offers a new approach to such longstanding philosophical puzzles about what colors are and how they fit into nature. It is responsive to a broad range of constraints --- both the ordinary constraints of color experience and the (...) more theoretical constraints of color science, psychology, semantics, and ontology. (shrink)

This book presents G. A. Cohen's Gifford Lectures, delivered at the University of Edinburgh in 1996. Focusing on Marxism and Rawlsian liberalism, Cohen draws a connection between these thought systems and the choices that shape a person's life. In the case of Marxism, the relevant life is his own: a communist upbringing in the 1940s in Montreal, which induced a belief in a strongly socialist egalitarian doctrine. The narrative of Cohen's reckoning with that inheritance develops through a (...) series of sophisticated engagements with the central questions of social and political philosophy. In the case of Rawlsian doctrine, Cohen looks to people's lives in general. He argues that egalitarian justice is not only, as Rawlsian liberalism teaches, a matter of rules that define the structure of society, but also a matter of personal attitude and choice. Personal attitude and choice are, moreover, the stuff of which social structure itself is made. Those truths have not informed political philosophy as much as they should, and Cohen's focus on them brings political philosophy closer to moral philosophy, and to the Judeo-Christian ethical tradition, than it has recently been. (shrink)

Students of perception have long puzzled over a range of cases in which perception seems to tell us distinct, and in some sense conflicting, things about the world. In the cases at issue, the perceptual system is capable of responding to a single stimulus — say, as manifested in the ways in which subjects sort that stimulus — in different ways. This paper is about these puzzling cases, and about how they should be characterized and accounted for within a general (...) theory of perception. After rehearsing the sort of case at issue (§1), I’ll examine critically some of the strategies by which philosophers and perceptual psychologists have attempted to account for them (§2). Finally, I’ll present an alternative computational account of the puzzle cases, argue that this view is superior to its competitors, and examine some of its implications (§3). (shrink)

Kant’s notorious remark about the impossibility of there ever being a Newton of a blade of grass has often been interpreted as a misguided pre-emptive strike against Darwin and evolutionary theories in general: 'It would be absurd for humans even to make such an attempt or to hope that there may yet arise a Newton who could make comprehensible even the generation of a blade of grass according to natural laws that no intention has ordered; rather, we must absolutely deny (...) this insight to human beings. (CPJ 5:400) My aim in this chapter is to re-evaluate this claim in the context of Kant’s account of organic generation and argue that, contrary to what is usually thought, it does leave room for the possibility of evolution. After spelling out the constraints Kant identifies for any scientific study of the history of living beings, I examine his theory of generation and draw its implications for biological heredity, species diversity, and the role played by environmental factors in organic development. On this basis, I conclude that first, evolution is a possible albeit far-fetched hypothesis for Kant; second, Darwin’s theory of natural selection would have turned a far-fetched possibility into a plausible candidate; and third, it would not have disposed of the need for teleology. This is why, I argue, Darwin could never have been a Newton of a blade of grass. (shrink)

We live in a market system with much economic inequality. This may not be an essential characteristic of market systems but seems historically inevitable. How we should evaluate it, on the other hand, is contentious. I propose that bleeding heart libertarianism provides the best diagnosis and prescription.

This book provides an analytical and critical appraisal of Rousseau's political thought that, while frank about its limits, also explains its enduring power.

Kant famously identified 'What is man?' as the fundamental question that encompasses the whole of philosophy. Yet surprisingly, there has been no concerted effort amongst Kant scholars to examine Kant's actual philosophy of man. This book, which is inspired by, and part of, the recent movement that focuses on the empirical dimension of Kant's works, is the first sustained attempt to extract from his writings on biology, anthropology and history an account of the human sciences, their underlying unity, their presuppositions (...) as well as their methodology. In exploring his philosophical and epistemological foundation of the human sciences, it reveals an unexpected picture of Kant, a picture of a thinker who is profoundly attentive to the diversity, detail and complexity of the human world. (shrink)

This chapter contains section titled: I II III IV V VI VII VIII IX X XI XII Coda Appendix Acknowledgements.

Most scholars have not assigned much interpretive importance to the specific use of the term ‘persuasion’ in the cosmology of Plato’s Timaeus. This paper suggests understanding cosmological ‘persuasion’ in conjunction with ‘force,’ another trait of divine agency in the Timaeus. It analyses the nature of intelligent causation in the cosmology of the Timaeus, particularly in the construction of the cosmic body and soul. Then, it gives a detailed characterization of the causation of necessity, appearing in the Timaeus in three different (...) versions, and relates it to the complex notion of intelligent agency. Ultimately, it claims that the cosmic music in the Timaeus, the primary agent of ordered causation in the cosmos, functions on two levels of conflict with the disorder of the sensible aspect of the world. (shrink)

Dans cet ouvrage publié en 1942, complété en 1945 par la Phénoménologie de la perception, « s’affirme pour la première fois une philosophie existentielle où le mode d’être ultime du pour-soi ne s’avère pas être, en dépit des intentions et des descriptions contraires, celui d’une conscience-témoin » (A. de Waelhens, préface). La structure du comportement se place au niveau de l’expérience non pas naturelle mais scientifique et s’efforce de prouver que cette expérience, c’est-à-dire l’ensemble des faits qui constituent le comportement, (...) n’est pas compréhensible dans les perspectives ontologiques que la science adopte spontanément. (shrink)

Counseling Ethics for the 21st Century prepares students to address ethical issues arising in contemporary counseling practice. Drawing on their own clinical and practical experiences, authors Elliot D. Cohen and Gale Spieler Cohen present detailed, realistic, and engaging clinical case studies along with a comprehensive five-step model that can be used to manage the complex ethical problems raised throughout the book. Each chapter focuses on particular virtues in the context of examining a particular counseling issue, including online counseling, (...) digital record keeping, and social media. Students will be empowered to define problems, identify relevant facts, conduct ethical analyses, and make the best decisions for their clients. (shrink)

Deliberation and democratic legitimacy -- Moral pluralism and political consensus -- Associations and democracy (with Joel Rogers) -- Freedom of expression -- Procedure and substance in deliberative democracy -- Directly-deliberative polyarchy (with Charles Sabel) -- Democracy and liberty -- Money, politics, political equality -- Privacy, pluralism, and democracy -- Reflections on deliberative democracy -- Truth and public reason.

Wes Morriston contends that William Lane Craig's argument for the impossibility of a beginningless past results in an equally good argument for the impossibility of an endless future. Craig disagrees. I show that Craig's reply reveals a commitment to an unmotivated position concerning the relationship between actuality and the actual infinite. I then assess alternative routes to the impossibility of a beginningless past that have been offered in the literature, and show that, contrary to initial appearances, these routes similarly seem (...) to support the impossibility of an endless future. (shrink)

This book examines Aristotle's metaphysics and his account of nature, stressing the ways in which his desire to explain observed natural processes shaped his philosophical thought. It departs radically from a tradition of interpretation, in which Aristotle is understood to have approached problems with a set of abstract principles in hand, principles derived from critical reflection on the views of his predecessors. A central example of the book interprets Aristotle's essentialism as deriving from an examination of the kinds of unity (...) that various sorts of things have: elemental motion, alteration, transformation and the growth of organisms. An important conclusion of this argument is that an essence may, under certain circumstances, lack some of its essential attributes. This is a major re-evaluation of Aristotle's metaphysics that will interest philosophers, classicists and historians of science. (shrink)

Questions about the ontology of color matter because colors matter. Colors are extremely pervasive and salient features of the world. Moreover, people care about the distribution of these features: they expend money and effort to paint their houses, cars, and other possessions, and their clear preference for polychromatic over monochromatic televisions and computer monitors have consigned monochromatic models to the status of rare antiques. The apparent ubiquity of colors and their importance to our lives makes them a ripe target for (...) ontological questions such as the following: " • What is the nature of colors? " • Are they, as they seem to be, properties of objects? (shrink)

Martin Buber: The Life of Dialogue , the first study in any language to provide a complete overview of Buber's thought, remains the definitive guide to the full range of his work and the starting point for all modern Buber scholarship. As well as summarizing Buber's early intellectual development and attitudes - his mysticism, his youthful existentialism, his philosophy of Judaism and religious socialism - it focuses on the two crucial issues of his mature thought: his dialogic or I-Thou philosophy, (...) and his probing of the nature and redemption of evil. As a sensitive, intuitive and perennially fascinating account of one of the twentieth century's great spiritual teachers, and as an influential classic in its own right, Martin Buber: The Life of Dialogue reveals the implications of Buber's thought for theory of knowledge, education, philosophy, myth, history and Judaic and Christian belief. This fully revised and expanded 4th edition includes a new preface from the author, an expanded bibliography incorporating new Buber scholarship, and two new appendices in the form of essays on Buber's influence on Emmanuel Levinas and Mikhail Bakhtin. (shrink)

Many philosophers in the field of meta-ethics believe that rational degrees of confidence in moral judgments should have a probabilistic structure, in the same way as do rational degrees of belief. The current paper examines this position, termed “moral Bayesianism,” from an empirical point of view. To this end, we assessed the extent to which degrees of moral judgments obey the third axiom of the probability calculus, ifP(A∩B)=0thenP(A∪B)=P(A)+P(B), known as finite additivity, as compared to degrees of beliefs on the one (...) hand and degrees of desires on the other. Results generally converged to show that degrees of moral judgment are more similar to degrees of belief than to degrees of desire in this respect. This supports the adoption of a Bayesian approach to the study of moral judgments. To further support moral Bayesianism, we also demonstrated its predictive power. Finally, we discuss the relevancy of our results to the meta-ethical debate between moral cognitivists and moral non-cognitivists. (shrink)

It is well-known that in the fifth of his Cartesian Meditations, Husserl puts forth a theory of intersubjectivity. Most commentators of Husserl have read his Cartesian Meditations as presenting a theory of intersubjectivity whose basis is empathy, in the form of a process of constituting the sense of “other” in one’s own experience, as the primary origin of the intersubjective layer of experience. In this paper, I claim that the structure of intersubjectivity as Husserl presents it in the Cartesian Meditations (...) is articulated as being governed by a logic of parts and wholes rather than that of a phenomenology of empathy, and that the articulation of this logic demonstrates that the transcendental ego is intrinsically intersubjective. My main philosophical claim in this regard is that the way Husserl’s account of transcendental empathy unfolds in the Cartesian Meditations implies a prior fundamental mereological structure of which the individual transcendental ego is only a part. That is, the transcendental ego has an eidetic a-priori intersubjective structure, in the sense of being a moment of an intersubjectively structured transcendental whole. In this sense, rather than being a singulare tantum, it is more fitting to say that transcendental subjectivity is actually a plurale tantum. (shrink)

In Mindblindness, Simon Baron-Cohen presents a model of the evolution and development of "mindreading." He argues that we mindread all the time, effortlessly, automatically, and mostly unconsciously. It is the natural way in which we interpret, predict, and participate in social behavior and communication. We ascribe mental states to people: states such as thoughts, desires, knowledge, and intentions. Building on many years of research, Baron-Cohen concludes that children with autism, suffer from "mindblindness" as a result of a selective (...) impairment in mindreading. For these children, the world is essentially devoid of mental things. Baron-Cohen develops a theory that draws on data from comparative psychology, from developmental, and from neuropsychology. He argues that specific neurocognitive mechanisms have evolved that allow us to mindread, to make sense of actions, to interpret gazes as meaningful, and to decode "the language of the eyes." A Bradford Book. (shrink)