Abstract:This essay traces the ambivalent work of ghurba (estrangement, exile, alienation) across four ethnographic scenes: Orthodox Christian activists in austerity Beirut refuse to abandon the corrupted world; a Syrian Islamic scholar in Jordan insists on the patient work of rehabilitation; Orthodox ascetics in a monastic community outside Tripoli turn to the hidden alienation borne in the world; and a Muslim calligrapher in Canada relinquishes the guarantee of ethical relation. Taken together, these scenes form a tableau of estrangement in the shared (...) vocabulary of Eastern Christianity and Islam. Drawing on Ibn Khaldun's Muqaddimah–in its articulations of soul, community, and world always already shadowed by their undoing–we then situate these four scenes along spatio-temporal axes of destruction and production, city and desert, paradise and hellfire: a purgatorial topology which modulates what Agamben calls the contemporary destruction of experience. (shrink)

Through photographs we preserve the past, and looking for the past is the very job of the archaeologist. But what are we looking at in an archaeological photograph? Archaeological photography is often largely deserted, to be scanned with a forensic gaze, towards finding evidence of what once took place. At the same time, photographs of excavated sites and artefacts have revealed stunning ancient works, shot as works of art. In Photography and Archaeology, Frederick Bohrer examines some of history’s most (...) famous archaeological excavations, as well as lesser-known and previously unpublished finds, from the Mediterranean, Middle East, Asia, Europe and the Americas, and the ways these sites have been represented in photographs. Bohrer shows how the development of photography in the nineteenth century made archaeology available to a much wider audience, and he discusses how these images revealed the material traces of the past, as well as their meaning and use today. Spanning the dual histories of both photography and archaeology, the book makes evident how what we know of the archaeological past has always been related to how it has been photographically represented and circulated: in scholarly papers, popular accounts, scientific archives, museum catalogues and numerous other formats. Bohrer concludes that such images possess contending, if not mutually exclusive, properties. While photography seems to guarantee documentary objectivity, at the same time it also fundamentally alters the archaeological object, transforming it into a work of art. Along the way, he discusses archaeological examples and images by photographers including Maxime du Camp, Francis Frith, John Beazley Greene, Ernst Herzfeld and others, to more contemporary photographers such as Aaron Levin, Roger Wood and Marilyn Bridges. Beautifully illustrated with fine archaeological images, many published here for the first time, Photography and Archaeologywill be of interest to archaeologists, art historians and photographers, as well as anyone concerned with, or captivated by, archaeology’s ongoing engagement with the past. (shrink)

In _The Company We Keep_, Wayne C. Booth argues for the relocation of ethics to the center of our engagement with literature. But the questions he asks are not confined to morality. Returning ethics to its root sense, Booth proposes that the ethical critic will be interested in any effect on the ethos, the total character or quality of tellers and listeners. Ethical criticism will risk talking about the quality of _this_ particular encounter with _this_ particular work. Yet it will (...) give up the old hope for definitive judgments of "good" work and "bad." Rather it will be a conversation about _many_ kinds of personal and social goods that fictions can serve or destroy. While not ignoring the consequences for conduct of engaging with powerful stories, it will attend to that more immediate topic, What happens to us _as we read_? Who am I, _during the hours of reading or listening_? What is the quality of the life I lead in the company of these would-be friends? Through a wide variety of periods and genres and scores of particular works, Booth pursues various metaphors for such engagements: "friendship with books," "the exchange of gifts," "the colonizing of worlds," "the constitution of commonwealths." He concludes with extended explorations of the ethical powers and potential dangers of works by Rabelais, D. H. Lawrence, Jane Austen, and Mark Twain. (shrink)

The essays in this 1996 volume explore the ways in which traditional philosophical problems about self-knowledge, self-identity, and value have migrated into literature since the Romantic and Idealist periods. How do so-called literary works take up these problems in a new way? What conception of the subject is involved in this literary practice? How are the lines of demarcation between philosophy and literature problematised? The contributors examine these issues with reference both to Romantic and Idealist writers and to some of (...) their literary and philosophical inheritors and revisers. Their essays offer a philosophical understanding of the roots and nature of contemporary literary and philosophical practice, and elaborate, powerful and influential, but rarely decisively articulated, conceptions of the human subject and of value. (shrink)

This reissue of his collection of early essays, Logico-Linguistic Papers, is published with a brand new introduction by Professor Strawson but, apart from minor ...

Adjectival and Generic Pragmatism: Problems and Possibilities While honoring the suggestion that one should always use an adjective with "pragmatism," I explore the possibility of a generic use of the term, contending that an orientation to habit or revisable practice is a useful indicator.

How do we know right from wrong? Do we even have moral knowledge? Moral epistemology studies these and related questions about our understanding of virtue and vice. It is one of philosophy’s perennial problems, reaching back to Plato, Aristotle, Aquinas, Locke, Hume and Kant, and has recently been the subject of intense debate as a result of findings in developmental and social psychology. Throughout the book Zimmerman argues that our belief in moral knowledge can survive sceptical challenges. He also draws (...) on a rich range of examples from Plato’s Meno and Dickens’ David Copperfield to Bernard Madoff and Saddam Hussein. (shrink)

I argue that our present crisis of meaning is grounded in what Dallas Willard called "the disappearance of moral knowledge," and in institutional changes related to this disappearance. Following Frankl, I argue that meaning requires self-transcendence via commitment to "higher" values, but the disappearance of moral knowledge has obscured the reality of such values, and hence has obscured the path to meaningful self-transcendence.

Book 1. Volume I, Greece and Rome ; Volume II, Augustine to Scotus ; Volume III, Ockham to Suarez.

A critique of the hypothesis of extended cognition.

An Introduction to the Philosophy of Art is a clear and compact survey of philosophical theories of the nature and value of art, including in its scope literature, painting, sculpture, music, dance, architecture, movies, conceptual art and performance art. This second edition incorporates significant new research on topics including pictorial depiction, musical expression, conceptual art, Hegel, and art and society. Drawing on classical and contemporary philosophy, literary theory and art criticism, Richard Eldridge explores the representational, formal and expressive dimensions (...) of art. He argues that the aesthetic and semantic density of the work, in inviting imaginative exploration, makes works of art cognitively, morally and socially important. This importance is further elaborated in discussions of artistic beauty, originality, imagination and criticism. His accessible study will be invaluable to students of philosophy of art and aesthetics. (shrink)

This collection of essays is the first of its kind to focus on the relationship between composition and identity. Twelve original articles--written by internationally renowned scholars and rising stars in the field--argue for and against the controversial doctrine that composition is identity.--Provided by publisher.

Bayesian Conditionalization is a widely used proposal for how to update one’s beliefs upon the receipt of new evidence. This is in part because of its attention to the totality of one’s evidence, which often includes facts about what one’s new evidence is and how one has come to have it. However, an increasingly popular position in epistemology holds that one may gain new evidence, construed as knowledge, without being in a position to know that one has gained this evidence. (...) These are cases of KK-Failure, cases where one knows p but is not in a position to know that one knows p. This paper assumes that certain KK-Failures are possible and argues that Conditionalization goes wrong in those cases. (shrink)

This paper extends three decades of work arguing that researchers who discuss consciousness should not restrict themselves only to (adult) human minds, but should study (and attempt to model) many kinds of minds, natural and artificial, thereby contributing to our understanding of the space containing all of them. We need to study what they do or can do, how they can do it, and how the natural ones can be emulated in synthetic minds. That requires: (a) understanding sets of requirements (...) that are met by different sorts of minds, i.e. the niches that they occupy, (b) understanding the space of possible designs, and (c) understanding complex and varied relationships between requirements and designs. Attempts to model or explain any particular phenomenon, such as vision, emotion, learning, language use, or consciousness lead to muddle and confusion unless they are placed in that broader context. A methodology for making progress is summarised and a novel requirement proposed for a theory of how human minds work: the theory should support a single generic design for a learning, developing system that, in addition to meeting familiar requirements, should be capable of developing different and opposed philosophical viewpoints about consciousness, and the so-called hard problem. In other words, we need a common explanation for the mental machinations of mysterians, materialists, functionalists, identity theorists, and those who regard all such theories as attempting to answer incoherent questions. No designs proposed so far come close. (shrink)

This article seeks a better understanding of how Rudolf Steiner envisioned his reform pedagogy as a site of spiritual learning (for example through art, seasonal festivals, ritual drama, etc.), but also as a specific site intended to resist the encroaching influence of capitalism, materialism, and corporatism spreading in Germany following the First World War. Steiner’s ideas about education did not emerge in a vacuum. He was inspired by and connected with other forms of communist, socialist, and Lebensreform movements in his (...) time. Yet Steiner more actively embraced and incorporated esotericism into his pedagogical project. How did his approach differ from the other anti-capitalist and anti-materialist-inspired schools that were spreading, and what role did esotericism play in terms of developing Waldorf students? This article explores these questions and contributes to a recontextualization of both Steiner and esotericism taking place in the academy. (shrink)

This chapter focuses on the ethical theories of the early modern philosophers Thomas Hobbes, Justus Lipsius, Descartes, Spinoza, Benjamin Whichcote, Lord Shaftesbury, and Samuel Clarke. The discussions include aspects of Hobbes' moral philosophy that posed a challenge for many philosophers of the second half of the seventeenth century who were committed to philosophy as a form of self-help; Lipsius and Descartes' appropriation of ancient and Hellenistic moral philosophy in connection with changing ideas about control of the passions and the happiest (...) and best life; and the maxim or epigram – a literary form used by moralists to counsel readers on how to best know and govern themselves. (shrink)

Readers of Spinoza's philosophy have often been daunted, and sometimes been enchanted, by the geometrical method which he employs in his philosophical masterpiece the Ethics. In Meaning in Spinoza's Method Aaron Garrett examines this method and suggests that its purpose, in Spinoza's view, was not just to present claims and propositions but also in some sense to change the readers and allow them to look at themselves and the world in a different way. His discussion draws not only on (...) Spinoza's works but also on those of the philosophers who influenced Spinoza most strongly, including Hobbes, Descartes, Maimonides and Gersonides. This controversial book will be of interest to historians of philosophy and to anyone interested in the relation between form and content in philosophical works. (shrink)

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising Mind' (...) these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language.' While past research has focussed on comparisons of music and language perception, few have dealt with this comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. (shrink)

A personal journey in and through comparison -- To what can I compare thee -- History -- Possibilities -- Context -- Future.

These challenging essays defend Romanticism against its critics. They argue that Romantic thought, interpreted as the pursuit of freedom in concrete contexts, remains a central and exemplary form of both artistic work and philosophical understanding. Marshalling a wide range of texts from literature, philosophy and criticism, Richard Eldridge traces the central themes and stylistic features of Romantic thinking in the work of Kant, Hölderlin, Wordsworth, Hardy, Wittgenstein, Cavell and Updike. Through his analysis he shows that Romanticism is neither emptily (...) literary and escapist nor dogmatically optimistic and sentimental. This is the first serious philosophical defense of the ethical ideals of Romanticism and will appeal particularly to all professionals and students in philosophy, literature and aesthetics who are interested in what, philosophically, literature can show that philosophy cannot say. (shrink)

I examine the link between extensionality principles of classical mereology and the anti‐symmetry of parthood. Varzi's most recent defence of extensionality depends crucially on assuming anti‐symmetry. I examine the notions of proper parthood, weak supplementation and non‐well‐foundedness. By rejecting anti‐symmetry, the anti‐extensionalist has a unified, independently grounded response to Varzi's arguments. I give a formal construction of a non‐extensional mereology in which anti‐symmetry fails. If the notion of ‘mereological equivalence’ is made explicit, this non‐anti‐symmetric mereology recaptures all of the structure (...) of classical mereology. (shrink)

In Literature, Life, and Modernity Richard Eldridge focuses on the question of a reader's or a viewer's response to a literary or dramatic work in a specific historical epoch ("modernity"). That is, in contrast with many other philosophical approaches to literature, he avoids fixing attention on any putative doctrinal (moral or political or diagnostic) claims in a literary work. Thereby, and in many other admirable ways, he avoids the danger of treating literature as philosophy manqué, concedes the distinctness of (...) literary experience, and only then asks about the significance of this experience. (In this way his approach is reminiscent to some extent of Schiller's; not bad company to be keeping.) This all amounts to a philosophy of literature of sorts,[1] but avoids a forced "philosophy in literature" or "literature as philosophy" treatment. There are themes and ideas at stake of course, but for distinct historical reasons, Eldridge also thinks of what he generally calls "modern" literature as characterized precisely by the absence of any thematic resolution, and so by a kind of play of possibilities, unsettledness, even homelessness. But, he argues, this is a play of ambiguity that. (shrink)

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public (...) philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

While moral arguments for vegetarianism have been explored in great depth, the arguments for veganism seem less clear. Although many animals used for milk and eggs are forced to live miserable lives on factory farms, it’s possible to raise animals as food resources on farms where the animals are treated more humanely and never slaughtered. Under more humane conditions, do we harm animals to use them for food? I argue that, even under humane conditions, using animals for food typically harms (...) animals by restricting their freedom. My argument raises an important question about the extent to which animals are harmed when their freedom is restricted. On one view, it is possible to restrict animals’ freedom without harming them so long as we don’t make them suffer. This view underestimates the value of freedom for animals. Even if animals aren’t made to suffer, restricting their freedom can harm them insofar as it deprives them of freely pursuing their enjoyments in life. My argument has implications for not only the ethics of using animals as food resources but also the ethics of using animals in zoos and circuses. I examine these implications and also consider what we should do with farm animals if we cease using them for food. (shrink)

Does a commitment to mereological universalism automatically bring along a commitment to the controversial doctrine of mereological extensionalism—the view that objects with the same proper parts are identical? A recent argument suggests the answer is ‘yes’. This paper attempts a systematic response to the argument, considering nearly every available line of reply. It argues that only one approach—the mutual parts view—can yield a viable mereology where universalism does not entail extensionalism.

Critics of Divine Command Theory (DCT) argue that DCT implies the following counterpossible is true: If God commanded us to perform a terrible act, then the terrible act would be morally obligatory. However, our intuitions tell us that such a counterpossible is false. Therefore, DCT fails. This is the counterpossible terrible commands objection. In this paper, I argue that the counterpossible terrible commands objection fails. I start by considering a standard response by DCT proponents that appeals to vacuism—the view that (...) all counterpossibles are vacuously true. I argue that DCT proponents should pursue a different response instead. I then go on to provide a new response to the counterpossible terrible commands objection: I argue that we lack reason to think that the counterpossible in question is false by examining the underlying intuitions. (shrink)

In a series of articles specifically commossioned for this volume, some of today's most distinguished business ethicists survey the main areas of interest and ...