A summary of the "Rylean myth" (aka "the myth of Jones") from Wilfrid Sellars' classic article "Empiricism and the Philosophy of Mind." He uses this "myth" to motivate the idea that our concepts of mental states are like theoretical concepts, developed to fulfill an explanatory role, and not at all somehow 'given' to us by direct acquaintance with instances of mental states.

In this article I aim to bring to the fore a problematic trait of Polish philosopher Stanisław Brzozowski’s thinking, which is his insistence on the metaphysical importance of human domination of nature through work, technology, and maximization of production. The focal point of the article is Brzozowski’s interpretation of Georg Sorel, with an emphasis on Reflections on Violence and the concept of the social myth. I argue that Brzozowski considers the primary strength of the social myth to (...) lie in its contribution to such domination, because its principal trait is to provide man with a sublime feeling of elevation above nature. Furthermore, this feeling becomes a motive force for struggle against nature. In conclusion, I suggest that the perspective of the sublime is a fruitful path for future critical encounters with Brzozowski’s work. The first part of the article stresses the importance of the sublime in Reflections on Violence. Sorel uses this concept throughout his main work to describe the affective nature of the violence of the social myth, which coordinates the inclinations of the masses towards emancipation. The second part discusses how Brzozowski understands the social myth, law, and nationhood from the perspective of human domination of elemental nature. (shrink)

The myths of three famous Glauci - (1) Glaucus of Anthedon, (2) Glaucus of Potniae, and (3) Glaucus the son of Minos - whose story patterns mirror one another in some remarkable details have long suggested a common origin as the likely solution to their points of coincidence. In particular, scholars have focused on such similarities as the presence of a magic plant, death/initiation, and acquisition of prophetic powers. However, the elements common to each of these myths are not functional (...) equivalents and, perhaps more importantly, there is no evidence to suggest that the three Glauci were conflated in antiquity. The attempts by modern scholars to reconcile the thematic similarities as conflations of a single source myth are conjectural and depend upon misinterpretations of the ancient evidence. On the other hand, an analysis of the contexts in which the myths of each of the Glauci appear in ancient literature conclusively demonstrates the independent conception and purpose of each of the myths. (shrink)

With armed conflict in the Persian Gulf now upon us, Harvard archaeologist Steven LeBlanc takes a long-term view of the nature and roots of war, presenting a controversial thesis: The notion of the "noble savage" living in peace with one another and in harmony with nature is a fantasy. In Constant Battles: The Myth of the Peaceful, Noble Savage , LeBlanc contends that warfare and violent conflict have existed throughout human history, and that humans have never lived in ecological (...) balance with nature. The start of the second major U.S. military action in the Persian Gulf, combined with regular headlines about spiraling environmental destruction, would tempt anyone to conclude that humankind is fast approaching a catastrophic end. But as LeBlanc brilliantly argues, the archaeological record shows that the warfare and ecological destruction we find today fit into patterns of human behavior that have gone on for millions of years. Constant Battles surveys human history in terms of social organization-from hunter gatherers, to tribal agriculturalists, to more complex societies. LeBlanc takes the reader on his own digs around the world -- from New Guinea to the Southwestern U.S. to Turkey -- to show how he has come to discover warfare everywhere at every time. His own fieldwork combined with his archaeological, ethnographic, and historical research, presents a riveting account of how, throughout human history, people always have outgrown the carrying capacity of their environment, which has led to war. Ultimately, though, LeBlanc's point of view is reassuring and optimistic. As he explains the roots of warfare in human history, he also demonstrates that warfare today has far less impact than it did in the past. He also argues that, as awareness of these patterns and the advantages of modern technology increase, so does our ability to avoid war in the future. (shrink)

Although its use is not universal, there is a map of the logical space of theories of truth that is widely applied. According to this map, the most foundational divide amongst theories of truth is that between deflationary and inflationary theories, where, roughly, the former hold that truth is an insubstantial, logical property of little philosophical interest and the latter that it is a substantial property suitable for philosophical attention. Amongst the inflationary theories, there are other fundamental divisions. For example, (...) on the one hand, correspondence theorists hold that the truth of a proposition is a matter of the proposition’s standing in a relation to something else which is not a proposition, such as a fact. On the other hand, coherence theorists hold that the truth of a proposition is a matter of its relations to other propositions. And again, pragmatists hold that the truth of a proposition is a matter of its being useful to believe. Throughout the twentieth century, philosophers used one or other version of this map to orient themselves and their students in the often complex and confusing debates about truth, even while acknowledging that the map may be incomplete in crucial respects (it does not include functionalist and pluralist views, for example). Our objection to the map is not that it is incomplete—although it obviously is—, but that it needs to be radically redrawn. In particular, the familiar division between coherence theories and correspondence theories needs to be rethought. The coherence theory is so often glibly dismissed as absurd that labelling someone as a coherence theorist is often seen as reason enough to ignore them.1 While none of the philosophers usually so labelled should be ignored, we shall argue (§3) that none of them actually held this view anyway. The difficulty—perhaps impossibility—of finding a genuine coherence theorist of truth strikes us as more than just an indication that this is a rare animal. Rather, it suggests the possibility of something significant, namely, that the only occupant of this position in historical space is a set of slogans; this would give us some reason to suppose that the logical space of theories is just as empty at this point.. (shrink)

EVERY Platonic dialogue is a tangled web. The Sophist and the Statesman, in which the paradigm of weaving plays a central role, are especially complex in structure. In this paper, I shall look at the Statesman from a variety of perspectives, following distinct but connected threads in the web, and always heading toward, or with an eye upon, the myth of the reversed cosmos. It will be necessary for me to make a considerable number of small points and observations (...) on the text. However, such a procedure may be excused, given the nature of the enterprise. And without this accumulation of detail, such general remarks as I have to offer would be deprived of substance. (shrink)

The theological turn in phenomenology continues to generate cross-disciplinary discussion among philosophers and theologians concerning the scope and boundaries of what counts as a “phenomenon.” This essay suggests that the very idea of the given, a term so important for Husserl, Heidegger, Henry and Marion, can be reassessed from the point of view of Wilifred Sellars’s discussion of the myth of the “immediate” given. Sometimes phenomenology is understood to involve the skill of unveiling immediate data that appear as (...) “phenomena” to a conscious and wakeful ego. In conversation with Jean-Luc Marion’s volume Givenness and Revelation, I challenge the assumption that phenomena are immediate in their givenness. The final remarks concern the “how” of the givenness of theological data, and in particular, the phenomenon of the Trinity. (shrink)

Today, two forces combine to produce a systematic transformation in all that is given. First, the economic force of the global market is propelled by a series of techno-scientific advances that continually reinvent that market. Second, the political force of modern democracies, in spite of their different actualizations, centers individual autonomy as the ultimate norm that would create each individual’s future. The human body, in virtue of its intrinsic plasticity and because it is always the body of a particular individual, (...) lends itself to this process of unlimited transformation in a privileged way. As such, the human body is the promise of enhancement without end. The following questions thus arise: Does the human body possess normative aspects that would bound or enclose its future transformations when considered from the modern frame of the autonomous individual? Could Merleau-Ponty’s notion of le corps propre point us in the direction of an answer? Is there a bodily given that authorizes self-experience, apart from any external or theological frame? Or, is the bodily given only a myth that obscures the human body’s actual capacity for unlimited transformation?Aujourd’hui, deux forces se combinent pour produire une transformation systématique sur tout ce qui est donné. Premièrement, la force économique du marché mondial est mue par une série de progrès techno-scientifiques qui le réinvente continuellement. Deuxièmement, la force politique des démocraties modernes, en dépit de leurs différentes actualisations, centre l’autonomie individuelle en tant que norme ultime qui pourrait créer le futur de chaque individu. Le corps humain, en vertu de sa plasticité intrinsèque et parce qu’il est toujours le corps d’un individu particulier, se prête lui-même à ce processus de transformation illimitée d’une manière privilégiée. Ainsi, le corps humain est la promesse d’une amélioration sans fin. Émergent alors les questions suivantes : le corps humain possède-t-il des aspects normatifs qui lieraient ou enfermeraient ses transformations futures lorsqu’il est considéré à partir du cadre moderne de l’autonomie individuelle? La notion merleau-pontienne de corps propre peut-elle nous donner une réponse? Y a-t-il un corporellement donné qui autorise une expérience de soi, en dehors de tout cadre extérieur ou théologique? Ou bien, le corporellement donné n’est-il qu’un mythe qui obscurcit la capacité actuelle de transformation illimitée du corps humain?Oggi, due forze contribuiscono a produrre una trasformazione sistematica di tutto ciò che è dato. In primo luogo, la forza economica del mercato globale, alimentata da una serie di progressi tecnologici che continuano a reinventare il mercato. In secondo luogo, la forza politica delle moderne democrazie, che, nonostante le loro differenti attualizzazioni, indicano l’autonomia individuale come norma ultima, in grado di garantire il futuro del singolo. Il corpo umano, in virtù della sua plasticità intrinseca e dal momento in cui esso è sempre il corpo di uno specifico individuo, si presta in modo privilegiato a questo processo di continua trasformazione. In quanto tale, il corpo umano è la promessa di un potenziamento illimitato. Il chè suscita le seguenti domande: vi sono degli aspetti normativi che verrebbero a limitare o vincolare le future trasformazioni del corpo umano, considerato nella prospettiva moderna dell’individuo autonomo? La nozione di corpo proprio elaborata da Merleau-Ponty può metterci sulle tracce di una risposta? Esiste un “corpo dato” che autorizzi un’esperienza di sé, a prescindere da ogni orizzonte esterno o teleologico? Oppure il “corpo dato” è puramente un mito che verrebbe a oscurare le illimitate capacità di trasformazione del corpo umano? (shrink)

Studies point out that populism, a concept still in dire need of clarifications, resembles more of a rhetorical strategy than a fully-fledged ideology. Actually, populism has become a concept so frequently used that its orginial meaning seems to have been lost, leaving it as an empty shell, at least from an ideological point of view. I argue that in spite of this – or rather as a means of compensation – populism uses a very robust mythological apparatus, creating (...) narratives that allow voters to easily understand its messages. The current article underlines that in an attempt to over-simplify its discourse, populism makes use of all four political myths identified by Raoul Girardet. The conspiracy myth represents the main element revolving around the populist discourse. Politicians who embrace this rhetoric denounce a secret society that is rigorously organized, the actions of which defy morality, using all means to attain political power. The other three political myths, i.e. the myth of unity, the myth of the savior and the myth of the golden age, act together only as a counterweight for the first. The paper also points out that the success of Euroscepticism lies in the fact that it represents the perfect embedding for such myths, and that the EU needs to generate its own narratives if it hopes to confront the so-called “populist temptation”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dispelling the Myth of the Non-Singer:Embracing Two Aesthetics for SingingLouise M. PascaleI entered the Music Workshop course with trepidation. Of all the courses in my Master's program, I feared this one the most. My experiences with music have always been negative ones. As I entered the classroom, memories surfaced of the time I was told to mouth the words so I would not throw the rest of the (...) class off key and when I was laughed off the stage after a friend and I attempted a rendition of "Rolling O'er the Billows." After that, I was convinced I should not sing.1Maxine Greene reminds us how easy it is to get caught in the "main text of life," one that is "negotiated mostly by convention, routine, habit, duty and one we have very little choice in."2 Our long-held acceptance of the "singer" and "non-singer" provides a perfect example of Greene's metaphor. The traditional meaning of "singing" is created out of convention and habit, perpetuated by the "main text" (white, middle class) values of American society.Singing, as it is understood in today's educational settings, settled into its role in American music education as a result of a number of significant decisions made as early as the 1600s by prominent leaders of the church.3 Each of these decisions added to the growth and strength of the view of singing that became [End Page 165] what I refer to as a "taproot"4 in music education. This taproot continued to settle comfortably into the groundwork of music education and has had major and long-lasting effects on how we generally perceive and experience singing.The Western perspective of singing is wedded to a multitude of assumptions and beliefs and, over a period of time, has taken on complex meaning. It is associated with subtle nuances, such as valuing the high, lilting soprano voice over the alto. It is connected to various philosophies and strongly held convictions, such as improving vocal performance through the mastery of musical literacy, and even exclusionary practices, such as selecting out the "better singers" and suggesting that others refrain from singing at all.Perhaps the most profound consequence of this entrenched taproot is that it has left American society with a very limited perception of "singing." This singular, well-supported root, albeit strong, impenetrable, and closely connected with a number of cultural and societal assumptions, effectively narrows the scope of our perceptions, our language, our philosophy, and our teaching practices in the domain of singing in education. Illustration of the powerful ways music relates to and directly expresses the social attitudes and cognitive processes of a culture are found in the work of John Blacking and John Miller Chernoff.5 Their work provides an opportunity to reflect on the cultural and societal influences of the "taproot" philosophy of music education and the ways these have created limitations on who expresses themselves musically, why, how, and for whom.One of the most critical of those limitations is that we have classroom teachers who rarely, if ever, sing with their students. The gap between those in education who sing and offer musical activities to their students and those who do not is greater than ever. The "non-singer" mentality persists in educational communities and is not being addressed in music education circles. Singing continues to be considered, by most educators, to be a complicated skill that must be learned and requires training in breathing, vocal technique, and diction, and a basic knowledge of note reading.Many have strong feelings about singing; it is not a neutral subject. When the topic of singing is brought up, some involved in the conversation are likely to personalize it and be eager to share stories about their singing ability and to express their opinions about whether or not they qualify as a "singer." Sometimes the reactions can be extreme. Some people shy completely away from singing, to the point of running from the room at the mere suggestion that they might be asked to participate in singing in public. Others have an opposite reaction and experience singing as an enjoyable activity... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dispelling the Myth of the Non-Singer:Embracing Two Aesthetics for SingingLouise M. PascaleI entered the Music Workshop course with trepidation. Of all the courses in my Master's program, I feared this one the most. My experiences with music have always been negative ones. As I entered the classroom, memories surfaced of the time I was told to mouth the words so I would not throw the rest of the (...) class off key and when I was laughed off the stage after a friend and I attempted a rendition of "Rolling O'er the Billows." After that, I was convinced I should not sing.1Maxine Greene reminds us how easy it is to get caught in the "main text of life," one that is "negotiated mostly by convention, routine, habit, duty and one we have very little choice in."2 Our long-held acceptance of the "singer" and "non-singer" provides a perfect example of Greene's metaphor. The traditional meaning of "singing" is created out of convention and habit, perpetuated by the "main text" (white, middle class) values of American society.Singing, as it is understood in today's educational settings, settled into its role in American music education as a result of a number of significant decisions made as early as the 1600s by prominent leaders of the church.3 Each of these decisions added to the growth and strength of the view of singing that became [End Page 165] what I refer to as a "taproot"4 in music education. This taproot continued to settle comfortably into the groundwork of music education and has had major and long-lasting effects on how we generally perceive and experience singing.The Western perspective of singing is wedded to a multitude of assumptions and beliefs and, over a period of time, has taken on complex meaning. It is associated with subtle nuances, such as valuing the high, lilting soprano voice over the alto. It is connected to various philosophies and strongly held convictions, such as improving vocal performance through the mastery of musical literacy, and even exclusionary practices, such as selecting out the "better singers" and suggesting that others refrain from singing at all.Perhaps the most profound consequence of this entrenched taproot is that it has left American society with a very limited perception of "singing." This singular, well-supported root, albeit strong, impenetrable, and closely connected with a number of cultural and societal assumptions, effectively narrows the scope of our perceptions, our language, our philosophy, and our teaching practices in the domain of singing in education. Illustration of the powerful ways music relates to and directly expresses the social attitudes and cognitive processes of a culture are found in the work of John Blacking and John Miller Chernoff.5 Their work provides an opportunity to reflect on the cultural and societal influences of the "taproot" philosophy of music education and the ways these have created limitations on who expresses themselves musically, why, how, and for whom.One of the most critical of those limitations is that we have classroom teachers who rarely, if ever, sing with their students. The gap between those in education who sing and offer musical activities to their students and those who do not is greater than ever. The "non-singer" mentality persists in educational communities and is not being addressed in music education circles. Singing continues to be considered, by most educators, to be a complicated skill that must be learned and requires training in breathing, vocal technique, and diction, and a basic knowledge of note reading.Many have strong feelings about singing; it is not a neutral subject. When the topic of singing is brought up, some involved in the conversation are likely to personalize it and be eager to share stories about their singing ability and to express their opinions about whether or not they qualify as a "singer." Sometimes the reactions can be extreme. Some people shy completely away from singing, to the point of running from the room at the mere suggestion that they might be asked to participate in singing in public. Others have an opposite reaction and experience singing as an enjoyable activity... (shrink)

Paradoxically, abolitionism contained the seeds of empire. If we accept the general outline of Eric Williams’ thesis in Capitalism and Slavery that abolition was not purely altruistic but was as economically conditioned as Britain’s later empire building in Africa, the contradiction between the ideologies of antislavery and imperialism seems more apparent than real. Although the idealism that motivated the great abolitionists such as William Wilberforce and Thomas Clarkson is unquestionable, Williams argues that Britain could afford to legislate against the slave (...) trade only after that trade had helped to provide the surplus capital necessary for industrial “take-off.” Britain had lost much of its slave-owning territory as a result of the American Revolution; as the leading industrial power in the world, Britain found in abolition a way to work against the interests of its rivals who were still heavily involved in colonial slavery and a plantation economy.3The British abolitionist program entailed deeper and deeper involvement in Africa—the creation of Sierra Leone as a haven for freed slaves was just a start—but British abolitionists before the 1840s were neither jingoists nor deliberate expansionists. Humanitarianism applied to Africa, however, did point insistently toward imperialism.4 By mid-century, the success of the antislavery movement, the impact of the great Victorian explorers, and the merger of racist and evolutionary doctrines in the social sciences had combined to give the British public a widely shared view of Africa that demanded imperialization on moral, religious, and scientific grounds. It is this view that I have called the myth of the Dark Continent; by mythology I mean a form of modern, secularized, “depoliticized speech” —discourse which treats its subject as universally accepted. Scientifically established, and therefore no longer open to criticism by a political or theoretical opposition. In The Idea of Race in Science: Great Britain, 1800-1960, Nancy Stepan writes:A fundamental question about the history of racism in the first half of the nineteenth century is why it was that, just as the battle against slavery was being won by abolitionists, the war against racism was being lost. The Negro was legally freed by the Emancipation Act of 1833, but in the British mind he was still mentally, morally and physically a slave.5It is this “fundamental question” which a genealogy of the myth of the Dark Continent can help to answer. Patrick Brantlinger, professor of English at Indiana University, is the editor of Victorian Studies. He has written The Spirit of Reform: British Literature and Politics, 1832-1867 and Bread and Circuses: Theories of Mass Culture and Social Decay. (shrink)

This text tries to shed some light on the origin of the idea of moral enhancement, on its epistemic and moral foundations. This requires a comparative analysis of similar ideas present in various trends of bioethics today - the analysis of the very roots of Poter?s global bioethics, the idea of moral enhancement, as well as the break between advocates of moral enhancement and John Harris, their transhumanist colleague, with whom they used to share the same perspective. In this article (...) we identify some basic starting points, similarities and differences between global bioethics and moral enhancement, and draw lines of demarcation between transhumanism and moral enhancement. (shrink)

This text tries to shed some light on the origin of the idea of moral enhancement, on its epistemic and moral foundations. This requires a comparative analysis of similar ideas present in various trends of bioethics today - the analysis of the very roots of Poter?s global bioethics, the idea of moral enhancement, as well as the break between advocates of moral enhancement and John Harris, their transhumanist colleague, with whom they used to share the same perspective. In this article (...) we identify some basic starting points, similarities and differences between global bioethics and moral enhancement, and draw lines of demarcation between transhumanism and moral enhancement. (shrink)

Although the doctrine of "survival of the fittest" is central to the Modern paradigm, it is not, as most Modernists would claim, the unvarnished truth. Indeed if we begin to think of the marketplace as a model of dynamic complexity then the logic of cooperation is inescapable. The point is that if business leaders refuse to accept that cooperation is a defining principle, not merely an abstract altruistic ideal but an essential strategy for the sustainable, long-term success of the (...) businesses they are building, then they will continue to undermine their own best interests in the name of competitive dominance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Feminist Studies, Inc. 509 Mytheli Sreenivas Birth Control in the Shadow of Empire: The Trials of Annie Besant, 1877–1878 In March 1877, two London activists provoked a debate about poverty and overpopulation that reverberated across metropole and colony. These activists, Annie Besant and Charles Bradlaugh, republished a book by the American physician Charles Knowlton that outlined methods to prevent conception. TheFruitsofPhilosophy,which (...) Bradlaugh and Besant provocatively subtitled An Essay on the Population Question, had been in limited circulation in Britain since 1833, but the book’s legality was called into question when its previous publisher was charged with obscenity in early 1877.1 Determined to establish the legal right to publish information about contraception, on March 23rd, 1877, Bradlaugh and Besant delivered copies of The Fruits of Philosophy to the police department, the city solicitor, and local magistrates, and they announced their intent to sell the book from their premises at the Freethought Publishing Company on Stonecutter Street in East London. The following day, a crowd filled the narrow space outside the publishing house, and the two activists sold hundreds of copies of Knowlton’s book. When no arrests were made, Besant and Bradlaugh renotified the authorities that they were selling a supposedly obscene book and were informed in turn that papers were 1. S. Chandrasekhar, “A Dirty, Filthy Book”: The Writings of Charles Knowlton and Annie Besant on Reproductive Physiology and Birth Control and an Account of the Bradlaugh-Besant Trial (Berkeley: University of California Press, 1981), 26. 510 Mytheli Sreenivas being prepared for their arrest and prosecution. On the 7th of April, 1877, Besant and Bradlaugh were arrested and taken into custody.2 In their subsequent trial, the two activists linked birth control advocacy to a Malthusian worldview. They argued that the urban working classes and the rural poor in Britain labored under the burden of overpopulation. Humanitarian concern for impoverished people, and not intent to promote obscenity, drove them to disseminate information about birth control. Besant and Bradlaugh were eventually acquitted on a legal technicality, and Bradlaugh moved on to other issues. Besant, however, was dissatisfied with The Fruits of Philosophy because its methods were outdated by the science of the day. She was determined to write a more up-to-date guide explaining contraceptive methods and went on to found a Malthusian League to disseminate birth control information. These events—the trial and Besant’s further campaigns promoting contraception —mark a watershed moment in the history of birth control activism.3 They would shape how reproduction came to be understood not as a private matter, but as a particular sort of social problem, whose implications reverberated from London to the empire in India and back again. To outside observers, Bradlaugh and Besant may have seemed an unlikely pair to set these events into motion. Bradlaugh, at age forty-four, had a long history of association with radical causes. A celebrated atheist and antimonarchical republican, he helped to shape a tradition of mid-nineteenth-century English radicalism that developed in the wake of Chartist decline. As a member of the National Reform League in the 1860s, he had participated in public demonstrations to extend the franchise. His leadership of the National Secular Society made him a popular lecturer among Freethinkers on issues of political democracy, anticlericalism, and occasionally on neo-Malthusianism.4 2. Anne Taylor, Annie Besant: A Biography (Oxford: Oxford University Press, 1992), 110–12. 3. The term “birth control” was coined in a meeting of Margaret Sanger and her associates in 1914, and thus would not have been in use in the late nineteenth century. The term contraception was not unknown, but had only limited circulation in scientific discourses. Nevertheless, I use both “birth control” and “contraception” interchangeably to mean methods to prevent conception. See Peter C. Engelman, A History of the Birth Control Movement in America (Santa Barbara, CA: Praeger, 2011), xviii. 4. Taylor, Annie Besant, 80–81. Mytheli Sreenivas 511 In comparison to Bradlaugh’s prominence, Besant was relatively unknown. Her public career began after a separation from her husband, the Anglican vicar Frank Besant. Perhaps the couple were ill-suited to each other from... (shrink)

Is it true that the suffering associated with chronic illness can be controlled in all but a few intractable cases? The bio-ethical literature gives the impression that suffering is primarily pain and that a competent physician should be able to control suffering. This perception jibes neither with my forty years of clinical experience nor with suffering as depicted in novels. Using Kenaz' novel,The Way to the Cats as a starting point, I argue that, with regard to suffering and illness, (...) fiction is closer to reality than professional literature, and suffering is far more than pain. I content that the control of suffering is a modern myth. This argument applies equally well to the control of non-insulin dependent diabetes. Patient selection, duration of follow-up, remembering what we want to remember, bias, self-fulfilled prophecy, and asking the wrong questions are offered as partial explanation for the gap between perception and reality. The complexity of suffering and the elusiveness of its control should be honestly recognized. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Myth, Song, and Music Education:The Case of Tolkien's The Lord of the Rings and Swann's The Road Goes Ever OnEstelle R. Jorgensen (bio)In this article I explore how myth and song intersect in J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King—and Donald Swann's song cycle setting of Tolkien texts, The Road Goes (...) Ever On.1 In so doing I am drawn back to Tolkien's The Hobbit, the novel from which The Lord of the Rings grew,2 and in the way of myth, I go back to the beginning to see what is there. After sketching some important themes in The Hobbit and The Lord of the Rings, and commenting as I go on Swann's musical setting of Tolkien's poems,3 I note several implications for music education.Why this particular tale? There are several reasons for my interest. Penned as a novel a half century ago, it was reborn at the turn of the twenty-first century in a widely circulated and highly acclaimed film trilogy. Its pagan and northern European roots are likewise intriguing, pointing back to a distant and imagined past. This extended historical tale can be seen as an epic journey in the genre of The Iliad and Beowulf.4 Such stories of other times were often sung as well as spoken, and Albert Lord describes the process whereby the telling and retelling of stories would be accommodated to the needs and interests of listeners, all of whom could be presumed to more or less know the story and identify with its characters.5 In a mass-mediated and technologically driven society in which attention is often focused on the present, evocations of the past fill a human need to know, individually and collectively, the story of how we came to be here. They prompt important philosophical questions such as those regarding the nature of good and [End Page 1] evil, ways to live a happy life, the role of supernatural events in human existence, and our responsibility to technology and the environment. And when studied in the context of a song cycle, we may better understand how myth and song intersect and be able to better reflect on what can be learned from this intersection for music education and its place in general education.Swann's song cycle evokes the cyclical journeys undertaken by Bilbo and Frodo, beginning with a party at home and ending triumphantly at home, although their pilgrimages generate yet others as ends become new beginnings. There is no end to this story; its beginning culminates yet others chronicled in The Hobbit and The Silmarillion, and its end commences another tale yet to be told. The rings in Tolkien's novel are figurative of these cycles: three rings for the elves, seven rings for the dwarves, and nine for mortal men. Bilbo's ring chronicled in The Hobbit is unveiled in The Lord of the Rings as the strategically most powerful one. Numerology, or the ancient study of numbers and their mythic significance, serves as a frame for the dense narrative that follows in Tolkien's texts. Swann sets a song cycle comprised of six songs, offering yet another number (whether intentional or not) in counterpoint to Tolkien's.The HobbitWithin this narrative are to be found various mythic qualities: a pilgrim on a quest, the band of travelers bound together in friendship by a common objective, the climactic but eventually successful journey, the struggle between good and evil, the crucial role of elemental natural forces and the interventions by powerful supernatural persons and forces in shaping events, the blurring of the natural and supernatural worlds, the inevitable tests that must be overcome in order to achieve the journey's objectives, the frailties of character demonstrated by the protagonist and his fellows, and the transformative quality of the journey on all those who undertake it.6 The action is set at a particular time and in a particular place with its own languages and kinds of writing (including runes or archaic angular writing that... (shrink)

Jordan Peterson has attracted a high level of attention. Controversies may bring people into contact with Peterson's work, but ideas are arguably what keep them there. Focusing on those ideas, this book explores Peterson’s answers to perennial questions. What is common to all humans, regardless of their background? Is complete knowledge ever possible? What would constitute a meaningful life? Why have humans evolved the capacity for intelligence? Should one treat others as individuals or as members of a group? Is a (...) single person powerless in the face of evil? What is the relation between speech, thought, and action? Why have religious myths and narratives figured so prominently in human history? Are the hierarchies we find in society good or bad? After devoting a chapter to each of these questions, Champagne unites the different strands of Peterson’s thinking in a handy summary. Champagne then spends the remaining third of the book articulating his main critical concerns. He argues that while building on tradition is inevitable and indeed desirable, Peterson’s individualist project is hindered by the non-revisable character and self-sacrificial content of religious belief. This engaging multidisciplinary study is ideal for those who know little about Peterson’s views, or for those who are familiar but want to see more clearly how Peterson’s views hang together. The debates spearheaded by Peterson are in full swing, so Myth, Meaning, and Antifragile Individualism should become a reference point for any serious engagement with Peterson’s ideas. (shrink)

Summary In this paper we examine the reaction of the Leiden low-temperature laboratory of Heike Kamerlingh Onnes to new ideas in quantum theory. Especially the contributions of Albert Einstein (1906) and Peter Debye (1912) to the theory of specific heat, and the concept of zero-point energy formulated by Max Planck in 1911, gave a boost to solid state research to test these theories. In the case of specific heat measurements, Kamerlingh Onnes's laboratory faced stiff competition from Walter Nernst's Institute (...) of Physical Chemistry in Berlin. In fact, Berlin got the better of it because Leiden lacked focus. After the liquefaction of helium in 1908, Kamerlingh Onnes transformed his laboratory into an international facility for low temperature research, and for this reason it was impossible to make headway with the specific heat measurements. In the case of zero-point energy, Leiden developed a magnetic research programme to test the concept. Initially the balance of evidence seemed to be tipping in favour of zero-point energy. After 1914, however, Leiden would desert the theory in fovour, of a concept from calssical physics. A curious move that illustrates Kamerlingh Onnes's discomfort with the new quantum theory. (shrink)

It seems that the first two decades of the twenty first century demonstrate political mythology to be still functioning in the political life of the West. In this context, it is interesting to view the recent publications of Hans Blumenberg’s Nachlass: Präfiguration and Rigorismus der Wahrheit, as they reveal unpredicted complications for the interpretation of his philosophy of myth as well as of his political stances. They also evoke some more general questions concerning the role of myth in (...) our contemporary political life. The aim of this article is to present the paradoxes connected with the posthumously published Blumenberg critique of Hannah Arendt and to situate it in the wider context of twentieth century political thought, specifically the work of Sorel, Schmitt, Rosenberg and Cassirer. It is also to point to more general ethical and political ambiguities connected with the problem of political mythology in the present. (shrink)

C. Lévi-Strauss advirtió que la variedad de mitos, lejos de constituir una proliferación anárquica de relatos, exhibe un aire de familia que trasparenta la profunda unidad del pensamiento humano. A partir de esta idea, el artículo muestra cómo ciertas teorías filosóficas y científicas sobre el origen del cosmos se apoyan en una estructura narrativa implícita en los mitos cosmogónicos. Esta comparación evidencia inesperadas afinidades en el intento por responder la pregunta por el origen del cosmos. C. Lévi-Strauss showed that -far (...) from constituting an anarchic proliferation of narratives- the variety of myths exhibits a familiarity which makes the deep unity of human thought transparent. Taking this idea as starting point, the article shows how certain philosophical and scientific theories regarding the origin of the cosmos rest on an implicit narrative structure found in the cosmogonic myths. This comparison makes evident some unexpected affinities found in the attempt to answer the question regarding the origin of the cosmos. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Louise Pascale, “Dispelling the Myth of the Non-Singer: Embracing Two Aesthetics for Singing”Vicki R. LindIn "Dispelling the Myth of the Non-Singer: Embracing Two Aesthetics for Singing," Louise Pascale explores classroom teachers' beliefs about singing. Specifically, she looks at possible reasons why many classroom teachers who have been raised in the Western traditions of music-making do not feel comfortable singing. As a vocal music education professor (...) and an avid singer, this is a topic near and dear to my heart. My image of a vibrant elementary classroom, rooted in my experiences as a student and later as an elementary music teacher, includes singing. If, as Pascale notes, there is a growing number of teachers who define themselves as "non-singers" and who, because of this, do not include music in the classroom, there is indeed reason for alarm.As I read the introductory paragraph of this paper I immediately thought of elementary teachers who had at one time or another been labeled as "tone deaf" and who had allowed an early negative singing experience to cause them to believe they could not sing. Pascale challenged this simple explanation of the non-singer and made a strong case for a more thorough investigation of the problem.Pascale began her investigation by conducting a series of interviews with people who believed they could not sing. She found a variety of reasons for the self-proclaimed non-singers negative self image including: 1) never being selected to sing a solo; 2) not being able to lead songs, and 3) not singing in tune. Pascale used the story of a young Barbados woman, Onika, as an illustration of how these experiences could be linked to Western music traditions. Onika was born in Barbados but moved to the United States at the age of four. This young woman considered herself a singer in her native country but a non-singer in America. Onika felt she was a singer in Barbados because she enjoyed singing music in the Solka tradition; the music was fun, moved fast, and she could sing along without being concerned about how she sounded. She described herself as a non-singer in the United States because she was not able to lead songs and did not have a strong voice.I agree that the conventional Western view of music in the schools is rooted in classical traditions that value performance, perfection, and virtuosity and that these views may lead to the above mentioned assumptions regarding singing. I question, however, whether this conventional view permeates the beliefs of those [End Page 200] outside of the traditional music education circle. Onika's experiences with music in Barbados seemed to be very natural, a part of life; her experiences with music in the United States seemed limited to formal experiences in church or school settings. It would be interesting to investigate whether the dichotomy is between two cultures, the United States and Barbados, or between two different ways of experiencing music, in school and in everyday life.The main body of Pascale's work is the description of two aesthetics for singing, Aesthetic A, the classical Western tradition and Aesthetic B, a broader, multi-dimensional perspective. The list of characteristics differentiating Aesthetic A and Aesthetic B relate to the teaching of music, the process of music education. Emphasizing product and performance, stressing the importance of skill building and relying on classical repertoire are characteristics related to the traditional viewpoint, or Aesthetic A. These characteristics are contrasted with those related to Aesthetic B; the emphasis is placed on process and participation, stress is placed on social value and feeling, and vernacular repertoire is used. Pascale makes the point that Aesthetic B is not meant to replace "traditional" thinking but is a broadening of the perspective. Two questions emerge from Pascale's two aesthetics. First, is there a commonly held "traditional" culture of singing that exists in schools today? Schools and learning populations in the United States are so diverse it is hard to imagine a single philosophy driving music education. Second, does Aesthetic B add new dimensions, or does it describe a balance that is necessary in any philosophy that... (shrink)

This paper explores the influence of transpersonal thinking, including the mythological perspective of Joseph Campbell and the holotropic perspective of Stanislav Grof, on actor training using the neutral mask. An outline of training in the neutral mask is given, focusing on the approach of David Latham, as experienced by the author in his own training. Points of correspondence with the vision of Campbell and Grof, and their influence, are discriminated and discussed. These correspondences open up two areas of inquiry: the (...) transformative effect of the mask work when conducted in a transpersonally-oriented set, and the use of the neutral mask as an approach to the study of myth and archetype. Both are discussed, and some preliminary conclusions drawn based on experiences reported by student-actors and the author’s observations during his own research and his practice as actor and teacher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Louise Pascale, “Dispelling the Myth of the Non-Singer: Embracing Two Aesthetics for Singing”Maya HooverLouise Pascale encourages a redefinition of the word "singer" and suggests ways to make it apply to a broader spectrum of people. The problem with the current definition, she believes, is that it is outdated and needs to be changed in order to better embrace the ideals of current society. In order (...) to fully understand the problem and incorporate her suggestions, it is helpful to look at the issue as a symptom of a larger philosophical problem and to examine her proposed aesthetics from a non-philosophical perspective. [End Page 202]A Philosophical Approach to an Ethnographic StudyPascale specifies the current definition of singer as one understood in terms of values set by a white, middle class, American society. She argues that this definition is a direct result of the actions of the church in the 1600s, which has influenced and effected how North Americans (specifically people from the United States) perceive and experience singing. She refers to the manner in which this definition is significantly rooted in history and has only strengthened with time as a "taproot" in music education.Pascale's main argument revolves around the fact that we in the United States have adopted and ascribe to the Western European value system of singing. She notes that in the quest to extract the highest form of singing, we tend to sort out the very best and tell everyone else not to bother. This elitist attitude is a serious problem and she is quite right to point it out. Although there is nothing wrong with classical studies revolving around a canon, we are often taught that anything else is not worthy of study or practice. As a result, we have a very narrow perception of singing due to the guidelines set by the "taproot philosophy," which greatly limits musical expression on many levels.The issue of Western European elitism in the United States is a big one that many scholars and educators like to avoid for fear of offending tradition. In Onika's case, she becomes completely redefined as a non-singer by these elitist constraints. Pascale hints at this concept at other points in her essay, but Onika's story stands out as a blatant example of subjugation.Pascale's story about her own trials in trying to learn about African dance and drumming reinforces the idea of Western elitism. She refers to Christopher Small's idea about the Western value of timing and rhythm, which is linked to "a more logical relationship between pitch and harmony."2 It is important to note that while Pascale was frustrated with her Western background, she was still encouraged by her Ghanaian instructor. She may have felt incompetent, but she was by no means subjugated, as Onika had become.Pascale relates both experiences to the link between culture, society, and the construction of belief systems. However, there is a deeper connection here that deals specifically with American society and its attitude toward those with a different belief system. Looking at other cultures shows how societies can encourage the exploration of their music by giving participants permission to be imperfect and accepting the interest in their culture with grace. This poses a question that is much larger than Pascale's original one, but one that is intricately linked to it: Why do we, as members of American society, continue to perpetuate the subjugation of anyone from outside of our established network of beliefs? [End Page 203] The problem of singers versus non-singers seems only to be a symptom of a much larger illness that is well deserving of a much deeper exploration.The Second Aesthetic from a Scientific Vantage PointPascale explores how the phenomenon of the "non-singer" translates into the music classroom. She argues that there must be a way to maintain the classical tradition while simultaneously allowing everyone to participate, trained or not. There must also be a way to allow every classroom teacher to feel comfortable singing with her/his students, and likewise to allow every student to feel comfortable enough to participate.She suggests incorporating... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Louise Pascale, “Dispelling the Myth of the Non-Singer: Embracing Two Aesthetics for Singing”Vicki R. LindIn "Dispelling the Myth of the Non-Singer: Embracing Two Aesthetics for Singing," Louise Pascale explores classroom teachers' beliefs about singing. Specifically, she looks at possible reasons why many classroom teachers who have been raised in the Western traditions of music-making do not feel comfortable singing. As a vocal music education professor (...) and an avid singer, this is a topic near and dear to my heart. My image of a vibrant elementary classroom, rooted in my experiences as a student and later as an elementary music teacher, includes singing. If, as Pascale notes, there is a growing number of teachers who define themselves as "non-singers" and who, because of this, do not include music in the classroom, there is indeed reason for alarm.As I read the introductory paragraph of this paper I immediately thought of elementary teachers who had at one time or another been labeled as "tone deaf" and who had allowed an early negative singing experience to cause them to believe they could not sing. Pascale challenged this simple explanation of the non-singer and made a strong case for a more thorough investigation of the problem.Pascale began her investigation by conducting a series of interviews with people who believed they could not sing. She found a variety of reasons for the self-proclaimed non-singers negative self image including: 1) never being selected to sing a solo; 2) not being able to lead songs, and 3) not singing in tune. Pascale used the story of a young Barbados woman, Onika, as an illustration of how these experiences could be linked to Western music traditions. Onika was born in Barbados but moved to the United States at the age of four. This young woman considered herself a singer in her native country but a non-singer in America. Onika felt she was a singer in Barbados because she enjoyed singing music in the Solka tradition; the music was fun, moved fast, and she could sing along without being concerned about how she sounded. She described herself as a non-singer in the United States because she was not able to lead songs and did not have a strong voice.I agree that the conventional Western view of music in the schools is rooted in classical traditions that value performance, perfection, and virtuosity and that these views may lead to the above mentioned assumptions regarding singing. I question, however, whether this conventional view permeates the beliefs of those [End Page 200] outside of the traditional music education circle. Onika's experiences with music in Barbados seemed to be very natural, a part of life; her experiences with music in the United States seemed limited to formal experiences in church or school settings. It would be interesting to investigate whether the dichotomy is between two cultures, the United States and Barbados, or between two different ways of experiencing music, in school and in everyday life.The main body of Pascale's work is the description of two aesthetics for singing, Aesthetic A, the classical Western tradition and Aesthetic B, a broader, multi-dimensional perspective. The list of characteristics differentiating Aesthetic A and Aesthetic B relate to the teaching of music, the process of music education. Emphasizing product and performance, stressing the importance of skill building and relying on classical repertoire are characteristics related to the traditional viewpoint, or Aesthetic A. These characteristics are contrasted with those related to Aesthetic B; the emphasis is placed on process and participation, stress is placed on social value and feeling, and vernacular repertoire is used. Pascale makes the point that Aesthetic B is not meant to replace "traditional" thinking but is a broadening of the perspective. Two questions emerge from Pascale's two aesthetics. First, is there a commonly held "traditional" culture of singing that exists in schools today? Schools and learning populations in the United States are so diverse it is hard to imagine a single philosophy driving music education. Second, does Aesthetic B add new dimensions, or does it describe a balance that is necessary in any philosophy that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Louise Pascale, “Dispelling the Myth of the Non-Singer: Embracing Two Aesthetics for Singing”Maya HooverLouise Pascale encourages a redefinition of the word "singer" and suggests ways to make it apply to a broader spectrum of people. The problem with the current definition, she believes, is that it is outdated and needs to be changed in order to better embrace the ideals of current society. In order (...) to fully understand the problem and incorporate her suggestions, it is helpful to look at the issue as a symptom of a larger philosophical problem and to examine her proposed aesthetics from a non-philosophical perspective. [End Page 202]A Philosophical Approach to an Ethnographic StudyPascale specifies the current definition of singer as one understood in terms of values set by a white, middle class, American society. She argues that this definition is a direct result of the actions of the church in the 1600s, which has influenced and effected how North Americans (specifically people from the United States) perceive and experience singing. She refers to the manner in which this definition is significantly rooted in history and has only strengthened with time as a "taproot" in music education.Pascale's main argument revolves around the fact that we in the United States have adopted and ascribe to the Western European value system of singing. She notes that in the quest to extract the highest form of singing, we tend to sort out the very best and tell everyone else not to bother. This elitist attitude is a serious problem and she is quite right to point it out. Although there is nothing wrong with classical studies revolving around a canon, we are often taught that anything else is not worthy of study or practice. As a result, we have a very narrow perception of singing due to the guidelines set by the "taproot philosophy," which greatly limits musical expression on many levels.The issue of Western European elitism in the United States is a big one that many scholars and educators like to avoid for fear of offending tradition. In Onika's case, she becomes completely redefined as a non-singer by these elitist constraints. Pascale hints at this concept at other points in her essay, but Onika's story stands out as a blatant example of subjugation.Pascale's story about her own trials in trying to learn about African dance and drumming reinforces the idea of Western elitism. She refers to Christopher Small's idea about the Western value of timing and rhythm, which is linked to "a more logical relationship between pitch and harmony."2 It is important to note that while Pascale was frustrated with her Western background, she was still encouraged by her Ghanaian instructor. She may have felt incompetent, but she was by no means subjugated, as Onika had become.Pascale relates both experiences to the link between culture, society, and the construction of belief systems. However, there is a deeper connection here that deals specifically with American society and its attitude toward those with a different belief system. Looking at other cultures shows how societies can encourage the exploration of their music by giving participants permission to be imperfect and accepting the interest in their culture with grace. This poses a question that is much larger than Pascale's original one, but one that is intricately linked to it: Why do we, as members of American society, continue to perpetuate the subjugation of anyone from outside of our established network of beliefs? [End Page 203] The problem of singers versus non-singers seems only to be a symptom of a much larger illness that is well deserving of a much deeper exploration.The Second Aesthetic from a Scientific Vantage PointPascale explores how the phenomenon of the "non-singer" translates into the music classroom. She argues that there must be a way to maintain the classical tradition while simultaneously allowing everyone to participate, trained or not. There must also be a way to allow every classroom teacher to feel comfortable singing with her/his students, and likewise to allow every student to feel comfortable enough to participate.She suggests incorporating... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Myth, and EducationThe Case of The Lord of the Rings Film TrilogyEstelle R. Jorgensen (bio)In probing the interrelationship of myth, meaning, and education, I offer a case in point, notably, Peter Jackson's film adaptations and Howard Shore's musical scores for J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King.1 Intersecting literature, (...) film, and music allows me to explore various perspectives or ways of meaning making associated with this myth. I then trace some of the implications of the analysis for musical and general education.I am particularly interested in the musical connections with myth evident in societies around the world and well established in the anthropological, ethnomusicological, and philosophical literatures. For example, Steven Feld finds the myth of the muni bird to be foundational to a New Guinea society in shaping musical expression and communal beliefs and practices.2 Likewise, as Lewis Rowell argues, Western music is rooted in and acquires its own mythos of person, power, and musical instruments; Dionysius, Apollo, Lachesis, Clotho, Atropos, Orpheus, Guido of Arezzo, St. Cecilia, and Thomas Mann's Doctor Faustus are among those whose impact on music are legendary, formative, and figurative.3 Associations of particular myths with operatic, orchestral, and choral repertoire in the Western classical tradition also abound, such as Wagner's operatic setting of the Lay of the Nibelung and Sibelius's evocation of the Finnish Vālhālla. Music and myth are interconnected especially in the film music of our time, for example, The Lord of the Rings trilogy, Titanic, and the Star Trek and Star Wars series.In The Lord of the Rings, my present focus, Shore's musical scores help to highlight the mythic character of Tolkien's narrative, bridge the externally perceived phenomenal world and the internal and subjective "inner world," interrelate the experience of time—especially past and present—and evoke a sense of wonder and awe that otherwise may be forgotten in pervasively [End Page 44] materialistic societies. Music's role in kindling reverence goes to the heart of what these films share that make them mythic—transcendence, profundity, ambiguity, narrativity, and an aesthetic and didactic character that arouse awe, mystery, and a heightened sense of the human condition. Here, music is primarily representational,4 serving functional as well as aesthetic/artistic roles in expressing such mythic themes as the contest between good and evil (in which good is often more fragile and the odds sometimes insurmountable) and the inevitability of death, in which human beings are often at the whim of capricious gods, natural forces, and their own weakness. It adds emotional and intellectual feeling to the visual images, pointing particular attention to specific scenes and representing the tensions built or released as the narrative and visual images unfold.Music's role in blurring past and present is particularly interesting since it is an art of time. The Lord of the Rings evokes an earlier time of crisis in Middle-earth, when the survival of humanity was in jeopardy. The soundtrack assists the moviegoer to make connections between times and travel imaginatively through time, thereby bringing alive the past and imagined future in the present moment. Boundaries between past and present become fuzzier, and one is helped in moving from one time to another. Leitmotifs are of particular interest in helping to make the ambiguity of the narrative more easily accessible and comprehensible, even at risk of oversimplifying matters—a quality evocative of music's use in the speech-song performances of the Iliad, among other ancient stories.Tolkien's fairytale is not couched for children, as is his earlier The Hobbit, but written unabashedly for adults.5 The Fellowship of the Ring can be seen as an epic fairytale with "a kind of religious significance."6 In her analysis of "life symbols"—or artistic, ritualistic, and mythic systems that are read "non-discursively," having no assigned connotation and therefore felt and grasped imaginatively and intuitively—Susanne Langer suggests that fairytales are a genre below that of myth in the continuum between dream and myth. For her, "myth has … a... (shrink)

Proclus takes the Republic’s (Book V) recommendation that there should be both male and female Guardians as a serious political proposal, but like Plato, he gives few specifics. A recurring theme in Proclus’ commentary is that political arrangements are just to the extent that they effectively mirror the providential administration of the cosmos. Thus the Myth of Er is not merely an adornment at the end of the dialogue, but contains important information about the cosmic paradigm to which the (...) just human polis should assimilate itself. This paper will consider the role of female Guardians in Proclus’ interpretation of the Republic as a serious suggestion in political theory by looking at the cosmic paradigms for women’s administration of justice in the Myth of Er. I have argued elsewhere that Proclus hypothesises gendered souls corresponding to male and female divinities and that, moreover, the feminine is subordinate to the masculine at the level of the divine. One point to emerge from my reading of the Myth of Er is that the female Guardians are likely to be subordinated to their male counter-parts if they play a role in the ideal polis analogous to the female divinities in the Myth of Er. A second point is that there are aspects of their role that seem to resemble some features of what has come to be called ‘the ethics of care’. (shrink)

The aim of this paper is twofold. First, I would like to bring into the light the almost unexplored Sellars’s theory of particulars. Second, I would like to show its surprising degree of compatibility with the thesis supported by some contemporary tropists, Tropes, Universals and the Philosophy of Mind, Ontos Verlag, 2008; Moltmann, Mind 113:1–41, 2004 and Moltmann, Noûs 47:346–370, 2013). It is difficult to establish whether Sellars possessed an own theory of tropes, developed independently by the classical form it (...) took in Williams 1953, but as a matter of fact the peculiar features of his “complex particulars” model it is very much like Williams’s theory. So much so that to all intents and purposes it represents a tropes variation. One of its strengths is that it is not part of a constituent ontology, since it is essentially developed from a linguistic and phenomenological point of view. It is for these reasons that this theory manages to avoid some of the classic objections to tropes and it shows to be compatible with the argument of Jonathan Lowe’s “proper visibility” as well as with Friederike Moltmann’s exquisitely linguistic interpretation of tropes. (shrink)

In Dellunde et al. 997–1015), we determined the complete theory Te of modules of separably closed fields of characteristic p and imperfection degree e, eω{∞}. Here, for 0≠eω, we describe the closed set of the Ziegler spectrum corresponding to Te. Further, we establish a correspondence between certain submodules and n-types and we investigate several notions of dimensions and their relationships with the Lascar rank. Finally, we show that Te has uniform p.p. elimination of imaginaries and deduce uniform weak elimination of (...) imaginaries. (shrink)

American Christians have developed a long list of expectations about what the life with God will feel like. Many Christians rightly deny the Prosperity Gospel-the idea that God wants you to be healthy and wealthy- but instead embrace its more subtle spin-off, the Emotional Prosperity Gospel, or the belief that God wants you to always experience happiness and fulfillment. Our society has become increasingly averse to sadness and emotional discomfort. Too often, people of faith assume that difficult feelings are a (...) result of either God's judgment or our own lack of spiritual maturity. Some even equate happiness with holiness. In Holy Unhappiness, Amanda Held Opelt, author of A Hole in the World, grapples with her own experience of disillusionment when life didn't go the way she expected. She examines some of the historic, religious, and cultural influences that led to the idolization of positive feelings and the marginalization of negative feelings. Unpacking nine elements of life that have been tainted by the message of the Emotional Prosperity Gospel - including work, marriage, parenting, calling, community, and church - she points to a new path forward, one that reimagines what the "blessed" life can be like if we release some of our expectations and seek God in places we never thought to look. While Opelt acknowledges the dignity of desiring happiness, she ultimately pleads for the normalization of sadness, anger, grief, disappointment, and other uncomfortable feelings as a part of the Christian experience, making a case that there is holiness to be found even in our unhappiness. (shrink)

In the last two centuries, our world would have been a safer place if philosophers such as Rousseau, Marx, and Nietzsche had not given intellectual encouragement to the radical ideologies of Jacobins, Stalinists, and fascists. Maybe the world would have been better off, from the standpoint of sound practice, if philosophers had engaged in only modest, decent theory, as did John Stuart Mill. Yet, as Ronald Beiner contends, the point of theory is not to think safe thoughts; the (...) class='Hi'>point is to open intellectual horizons. In Philosophy in a Time of Lost Spirit, Beiner reflects on the dualism of theory and practice. The purpose of the theorist is not to offer sensible guidance on the conduct of social life but to test the boundaries of our vision of social order. Whereas the liberal citizen should embody the practical virtues of prudence and moderation, the theorist should be radical, probing, and immoderate. Looking back at the liberal-communitarian debate of the 1980s, Beiner recognizes that the antidote to our spiritless times lies neither in the embrace of community over individualism nor of individualism over community: both individual and community need to be submitted to radical questioning. It is by exposing ourselves to the challenge of fearless thinking encountered at the philosophical extremities that we are most likely to understand our own world at a deeper level. In this collection of essays and reviews, Ronald Beiner helps us to think critically about the thought-worlds of our foremost contemporary thinkers, including Hannah Arendt, Allan Bloom, Michel Foucault, Hans-Georg Gadamer, J¦rgen Habermas, Will Kymlicka, Christopher Lasch, Richard Rorty, Judith Shklar, Leo Strauss, Charles Taylor, and Michael Walzer. (shrink)

There is a widespread attitude in epistemology that, if you know on the basis of perception, then you couldn't have been wrong as a matter of chance. Despite the apparent intuitive plausibility of this attitude, which I'll refer to here as “stochastic infallibilism”, it fundamentally misunderstands the way that human perceptual systems actually work. Perhaps the most important lesson of signal detection theory (SDT) is that our percepts are inherently subject to random error, and here I'll highlight some key empirical (...) research that underscores this point. In doing so, it becomes clear that we are in fact quite willing to attribute knowledge to S that p even when S's perceptual belief that p could have been randomly false. In short, perceptual processes can randomly fail, and perceptual knowledge is stochastically fallible. The narrow implication here is that any epistemological account that entails stochastic infallibilism, like safety, is simply untenable. More broadly, this myth of stochastic infallibilism provides a valuable illustration of the importance of integrating empirical findings into epistemological thinking. (shrink)

We show that if G is a group of finite Morley rank, then the verbal subgroup is of finite width, where w is a concise word. As a byproduct, we show that if G is any abelian-by-finite group, then Gn= is definable.

This book seeks to defend Marx’s theory in Capital against the long-standing criticism of logical inconsistency, which has provided the main justification for the rejection of Marx’s theory over the last century. This book presents a new interpretation of Marx’s theory that has emerged over the last several decades called the ‘temporal single-system’ interpretation. Kliman argues that the TSSI eliminates all of the alleged logical inconsistencies in Marx’s theory, and therefore logical inconsistency is not a valid reason to reject Marx’s (...) theory. I agree in general with much of this book, but I disagree on some points, especially the use of one-commodity models and its interpretation of the transformation-problem. (shrink)

It is known today that Hegel's philosophy was at the center of the development of pragmatism. In particular, the relation of Dewey's philosophy to Hegel's has recently been studied with great attention1. Many studies have revealed that the German philosopher had a fundamental influence on the young John Dewey, particularly with regard to his theory of culture, for his logic, as well as for his psychology. These new readings propose a profoundly original view of Dewey and explain why he thought (...) of his philosophy as a "permanent Hegelian deposit".Our work aims to... (shrink)

The reception of Dewey's work has suffered, in terms of his political philosophy, from a certain mistrust. First, in the field of education, Dewey's refusal to grant "ultimate" or "high" status to certain values, even those of the French Republic, has made him a mistrusted figure.1 Apart from the pedagogues of Education Nouvelle, which defied the then dominant "Cartesian tradition of the dualistic philosophy of reason" in France, Dewey was little studied before the 1960s. In 2013, Kambouchner perceived an opposition (...) between Dewey and Durkheim;2 however, the French reception of The Public and Its Problems in 1927 also suffered from suspicion and skepticism.3 To begin, there was suspicion with regard to this... (shrink)

Given a model-complete theory of topological fields, we considered its generic differential expansions and under a certain hypothesis of largeness, we axiomatised the class of existentially closed ones. Here we show that a density result for definable types over definably closed subsets in such differential topological fields. Then we show two transfer results, one on the VC-density and the other one, on the combinatorial property NTP2.

We study extensions of Presburger arithmetic with a unary predicate R and we show that under certain conditions on R, R is sparse and the theory of $\langle\mathbb{N}, +, R\rangle$ is decidable. We axiomatize this theory and we show that in a reasonable language, it admits quantifier elimination. We obtain similar results for the structure $\langle\mathbb{Q},+, R\rangle$.

This corrigendum concerns [, § ] on ordered difference existentially closed valued fields where we overlooked the problem of immediate extensions.

To a greater extent than in other technical domains, research and progress in Artificial Intelligence has always been entwined with the fictional. Its language echoes strongly with other forms of cultural narratives, such as fairytales, myth and religion. In this essay we present varied examples that illustrate how these analogies have guided not only readings of the AI enterprise by commentators outside the community but also inspired AI researchers themselves. Owing to their influence, we pay particular attention to the (...) similarities between religious language and the way in which the potential advent of greater than human intelligence is presented contemporarily. We then move on to the role that fiction, science fiction most of all, has historically played and is still playing in the discussion of AI by influencing researchers and the public, shifting the weights of different scenarios in our collectively perceived probability space. We sum up by arguing that the lore surrounding AI research, ancient and modern, points to the ancestral and shared human motivations that drive researchers in their pursuit and fascinate humanity at large. These points of narrative entanglement where AI meets the wider culture should serve to amplify the call to engage ourselves with the discussion of the potential destination of this technology. (shrink)

We consider the reduct to the module language of certain theories of fields with a non surjective endomorphism. We show in some cases the existence of a model companion. We apply our results for axiomatizing the reduct to the theory of modules of non principal ultraproducts of separably closed fields of fixed but non zero imperfection degree.

Given a simple non-trivial finite-dimensional Lie algebra L, fields $K_i$ and Chevalley groups $L(K_i)$ , we first prove that $\Pi_{\mathcal{U}} L(K_i)$ is isomorphic to $L(\Pi_{\mathcal{U}}K_i)$ . Then we consider the case of Chevalley groups of twisted type ${}^n\!L$ . We obtain a result analogous to the previous one. Given perfect fields $K_i$ having the property that any element is either a square or the opposite of a square and Chevalley groups ${}^n\!L(K_i)$ , then $\pu{}^n\!L(K_i)$ is isomorphic to ${}^n\!L(\pu K_i)$ . (...) We apply our results to prove the decidability of the set of sentences true in almost all finite groups of the form L(K) where K is a finite field and L a fixed untwisted Chevalley type. (shrink)

Le présent article examine la façon dont John Dewey a entrepris de poser le problème de la valuation et de ses conséquences au sein de sa théorie de l’éducation. Plus spécifiquement, nous voudrions montrer que son effort pour repenser l’articulation des moyens et des fins du processus de valuation contribue à repenser l’enquête morale. Celle-ci, si elle fait alors l’objet d’une pédagogie qui met au centre l’expérience vécue du sujet, nous oblige à concevoir à nouveaux frais les valeurs que nous (...) accordons aux connaissances apprises. Notre analyse entend démontrer que : 1) de même que dans le domaine éthique, rien n’a de valeur en soi pour le sujet agissant. Mais que 2) la valuation de tout acte est déterminée en situation, alors, 3) dans le domaine de la pédagogie, aucune connaissance n’a de valeur en soi pour l’élève. 4) Ainsi la première tâche de l’enseignant.e est de former l’élève à des processus de valuation efficaces. Cela dans le but que celui-ci puisse à son tour, clairement, déterminer pour lui-même les connaissances qui auront de la valeur. Si notre hypothèse est juste alors cette tâche devient à la fois un point de départ important de la pédagogie pragmatiste et un impératif incontournable de l’éthique enseignante. -/- The present article examines how Dewey addressed the problem of value, as well as the consequences that this solution had for his educational theory. More specifically, I aim to show that Dewey’s effort to rethink means and ends within the process of valuation contributes to a recasting of moral inquiry. If moral inquiry becomes part of a pedagogy that focuses upon the lived experience of the subject, this compels us to rethink the value we attribute to acquired knowledge. My analysis will demonstrate 1) that even within the ethical domain, nothing has value in itself for the acting subject, but that 2) the value of all acts must be determined within specific situations, and therefore 3) within the domain of pedagogy, no knowledge has value in and of itself for the student. 4) Thus the first task of the teacher is to teach students how to evaluate questions of value, which will push them to determine for themselves what knowledge has value. If my hypothesis is correct, this task becomes simultaneously an important starting place for pragmatist pedagogy and a cornerstone of a new ethic of teaching. (shrink)