Online research in philosophy

Throughout his career, Husserl identifies naturalism as the greatest threat to both the sciences and philosophy. In this paper, I explicate Husserl’s overall diagnosis and critique of naturalism and then examine the specific transcendental aspect of his critique. Husserl agreed with the Neo-Kantians in rejecting naturalism. He has three major critiques of naturalism: First, it (like psychologism and for the same reasons) is ‘countersensical’ in that it denies the very ideal laws that it needs for its own justification. Second, naturalism (...) essentially misconstrues consciousness by treating it as a part of the world. Third, naturalism is the inevitable consequence of a certain rigidification of the ‘natural attitude’ into what Husserl calls the ‘naturalistic attitude’. This naturalistic attitude ‘reifies’ and it ‘absolutizes’ the world such that it is treated as taken-for-granted and ‘obvious’. Husserl’s transcendental phenomenological analysis, however, discloses that the natural attitude is, despite its omnipresence in everyday life, not primary, but in fact is relative to the ‘absolute’ transcendental attitude. The mature Husserl’s critique of naturalism is therefore based on his acceptance of the absolute priority of the transcendental attitude . The paradox remains that we must start from and, in a sense, return to the natural attitude, while, at the same time, restricting this attitude through the on-going transcendental vigilance of the universal epoché. (shrink)

Inspired by Aristotle, Franz Brentano revived the concept of intentionality to characterize the domain of mental phenomena studied by descriptive psychology. Edmund Husserl, while discarding much of Brentano?s conceptual framework and presuppositions, located intentionality at the core of his science of pure consciousness (phenomenology). Martin Heidegger, Husserl?s assistant from 1919 to 1923, dropped all reference to intentionality and consciousness in Being and Time (1927), and so appeared to break sharply with his avowed mentors, Brentano and Husserl. Some recent commentators have (...) sided with Heidegger and have endorsed his critique of Husserl and Brentano as still caught up in epistemological, representationalist approaches to intentionality. I argue that Heidegger is developing Husserl, focusing in particular on the ontological dimension of intentionality, not reversing or abandoning his account. Heidegger?s criticisms of representationalism merely repeat Husserl?s. Furthermore, I argue that Husserl?s account of cognitive intentionality, which recognizes the importance of the disinterested theoretical attitude for scientific knowledge, has been underestimated and misunderstood by Heidegger, who treats scientific cognition as a deficient form of practice. In short, Heidegger is more dependent on Husserl than he ever publicly acknowledged. (shrink)

remarks some lessons about self-knowledge (and some other self-relations) as well as use them to throw some light on what might seem to be a fairly distant area of philosophy, namely, Sartre's view of the person as of a divided nature, divided between what he calls the self-as-facticity and the self-as-transcendence. I hope it will become clear that there is not just perversity on my part in bringing together Wittgenstein and the last great Cartesian. One specific connection that will occupy (...) me here is their shared hostility to the idea of theoretical certainty as our model for the authority of ordinary self-knowledge, and their relating of such a theoretical model to specific forms of self-alienation. This, in turn, is related to another concern they share, a concern with the difficulties, philosophical and otherwise, in conceiving of oneself as but one person in the world among others. (shrink)

There is an apparent tension between Immanuel Kant's model of moral agency and his often-neglected philosophy of moral education. On the one hand, Kant's account of moral knowledge and decision-making seems to be one that can be self-taught. Kant's famous categorical imperative and related 'fact of reason' argument suggest that we learn the content and application of the moral law on our own. On the other hand, Kant has a sophisticated and detailed account of moral education that goes well beyond (...) the kind of education a person would receive in the course of ordinary childhood experience. The task of this paper will be to reconcile these seemingly conflicting claims. Ultimately, I argue, Kant's philosophy of education makes sense as a part of his moral theory if we look not only at individual moral decisions, but also at the goals or ends that these moral decisions are intended to achieve. In Kant's case, this end is what he calls the highest good, and, I argue, the most coherent account of the highest good is a kind of ethical community and end of history, similar to the Groundwork 's realm of ends. Seen as a tool to bring about and sustain such a community, Kant's philosophy of moral education exists as a coherent and important part of his moral philosophy. (shrink)

It is undeniable that the assumption of sincerity is important to assertion, and that assertion is central to the transmission of beliefs through human testimony. Discussions of testimony, however, often assume that the epistemic importance of sincerity to testimony is that of a (fallible) guarantee of access to the actual beliefs of the speaker. Other things being equal, we would do as well or better if we had some kind of unmediated access to the beliefs of the other person, without (...) the risks involved in the overt act of speaking, and the assumption of sincerity in speech is the closest we can come to this access. Contrary to this picture, I argue that sincerity has a quite different epistemic role to play in testimony than that of an indicator of the speaker's beliefs. The epistemology of testimony requires reference to the speaker as agent, and not just the speaker's beliefs, as well as a sense of 'expression of belief' that links it to the specifically addressive relation to another person. (shrink)

Since 1976 Hilary Putnam has drawn parallels between his `internal'',`pragmatic'', `natural'' or `common-sense'' realism and Kant''s transcendentalidealism. Putnam reads Kant as rejecting the then current metaphysicalpicture with its in-built assumptions of a unique, mind-independent world,and truth understood as correspondence between the mind and that ready-madeworld. Putnam reads Kant as overcoming the false dichotomies inherent inthat picture and even finds some glimmerings of conceptual relativity inKant''s proposed solution. Furthermore, Putnam reads Kant as overcoming thepernicious scientific realist distinction between primary and secondaryqualities, (...) between things that really exist and their projections, adistinction that haunts modern philosophy. Putnam''s revitalisation of Kantis not just of historical interest, but challenges contemporary versions ofscientific realism. Furthermore, Putnam has highlighted themes which havenot received the attention they deserve in Kantian exegesis, namely, theproblematic role of primary and secondary qualities in Kant''s empiricalrealism, and the extent of Kant''s commitment to conceptual pluralism.However, I argue that Putnam''s qualified allegiance to Kant exposes him tosome of the same metaphysical problems that affected Kant, namely, thefamiliar problem of postulating an absolute reality (Ding an sich), while atthe same time disavowing the meaningfulness of so doing. In conclusion Isuggest that Putnam might consider Hegel''s attempts to solve this problem inKant as a way of furthering his own natural realism. (shrink)

Of course in every act of this kind, there remains the possibility of putting this act into question – insofar as it refers to more distant, more essential ends.... For example the sentence which I write is the meaning of the letters I trace, but the whole work I wish to produce is the meaning of the sentence. And this work is a possibility in connection with which I can feel anguish; it is truly my possibility...tomorrow in relation to it (...) my freedom can exercise its nihilating power. (shrink)

In this article, I respond to the comments of six philosophers on my book Authority and Estrangement: An Essay on Self-knowledge. My reply to Josep Corbí mostly concerns the relation between the two modes of self-knowledge I call ‘avowal’ and ‘attribution’, and the sense of activity involved in self-knoweldge; in responding to Josep Prades I try to clarify my picture of deliberation and show that it is not ‘intellectualist’ in an objectionable sense; Komarine Romdenh-Romluc’s paper enables me to say some (...) things about the idea of unconscious beliefs, specifically in relation to the phenomenological tradition; the paper by Hilan Bensusan and Manuel de Pinedo helps me to clarify my sense of the relation of the first-person perspective to the specifically normative relation to one’s beliefs and other attitudes; and Carla Bagnoli’s paper provides an opportunity to explore some connections between the deliberative stance and the notion of recognition in Hegel and in contemporary philosophy. (shrink)

In an 1896 letter to Wilhelm Fliess, the first and primary confidante for his fledgling ideas, the young Sigmund Freud wrote: “I see that you are using the circuitous route of medicine to attain your first ideal, the physiological understanding of man, while I secretly nurse the hope of arriving by the same route at my own original objective, philosophy. For that was my original ambition, before I knew what I was intended to do in the world.”1 When philosophy is (...) mentioned in his later, published, writings, it will normally be an occasion for Freud to disavow any such connection with the enterprise of psychoanalysis, a repeated gesture of denial that naturally only goes to show how profound the relationship must really be. For many years now, Jonathan Lear has been one of the great mediators between the worlds of philosophy and psychoanalysis, showing us what they have to learn from each other, and what they have difficulty 1 accepting from each other. In these lectures he explores a connection between a stance toward oneself that is furthered in the psychoanalytic session, and a stance towards one‟s life to which Kierkegaard gives the name „irony‟. I will begin my remarks with some thoughts about the general picture of irony presented in Professor Lear‟s lectures, and its relation to certain philosophical claims for the role of what is variously called „critical reflection‟, „self-consciousness‟, or the metaphor of “stepping back” from some aspect of one‟s thought or engagement in the world. I will then focus on the idea of self-knowledge at play in the lectures and the role of something called „expression‟ in this context. (shrink)

Phenomenology, understood as a philosophy of immanence, has had an ambiguous, uneasy relationship with transcendence, with the wholly other, with the numinous. If phenomenology restricts its evidence to givenness and to what has phenomenality, what becomes of that which is withheld or cannot in principle come to givenness? In this paper I examine attempts to acknowledge the transcendent in the writings of two phenomenologists, Edmund Husserl and Edith Stein (who attempted to fuse phenomenology with Neo-Thomism), and also consider the influence (...) of the existentialist Karl Jaspers, who made transcendence an explicit theme of his writing. I argue that Husserl does recognize the essential experience of transcendence within immanence; even the idea of a physical thinghas “dimensions of infinity” included within it. Similarly, he asserts profoundly that every “outside” is what it is only as understood from the inside. Jaspers toomakes the experience of transcendence central to human existence; it is the very measure of my own depth. For Edith Stein, everything temporal points towardthe timeless structural ground which makes it what it is. Transcendence is an intrinsic part of being itself. Furthermore, the very lack of self-sufficiency of my own self shows that the self requires a ground outside itself, in the transcendent. There is strong convergence between the three thinkers studied on the concept of transcendence, which is indeed a central, if largely unacknowledged, concept in phenomenology both in Husserl and his followers (Stein), but also, throughJaspers, in Heidegger. (shrink)

Until the appearance of Mindin I 876, there was no British journal specifically devoted to philosophy. Articles on philosophical subjects competed for space in the pages ofthe Edinburgh Review, the Quarterly, and the Wcsfminsten and Iatcrin the Formightly, the Contenipcmry, and the Nineteenth Century. The result is a body of philosophical literature that is both popular and profound, addressing the great issues ofthe day in a manner accessible to any thoughtfhl and literate reader. The issues with which these writers dealt (...) -. (shrink)

The notion of ‘bipolar’ or ‘second-personal’ normativity is often illustrated by such situations as that of one person addressing a complaint to another, or asserting some right, or claiming some authority. This paper argues that the presence of speech acts of various kinds in the development of the idea of the ‘second-personal’ is not accidental. Through development of a notion of ‘illocutionary authority’ I seek to show a role for the ‘second-personal’ in ordinary testimony, despite Darwall's argument that the notion (...) of the ‘second-personal’ marks a divide between practical and theoretical reason. (shrink)

The following account provides reflective analysis of an ongoing rationalization operation that entails the eventual closure of my placement agency. This politically motivated undertaking demonstrates some of the inequities that exist within the complex and ‘ ... evolving relationship between the state and theindividual’, which forms the principal domain of social work practice (Howe 1996, p. 77). The closure of this service carried consequences not only for the agency’s personnel and service users but also for the service users’ immediate social (...) systems and the wider community. My involvement in this matter, which was analogous to Schon’s ‘swampy lowlands’ of problematic social work activity, required me to introspect and deliberate rigorously as I strived to address practice implications, social injustice, difficult value judgements, conflicts of professional and organizational interests and dilemmas concerning personal ethics and official directives (Schon 1983, p. 42). Written from a perspective that is both humanistic and pragmatic, this account avoids reference to religious belief systems and prescriptive models of reflection in favour of a flexible format, compatible with this rapidly unfolding, highly emotive situation. The names and other identifying features of all service users, staff, establishments, services and agencies have been changed. (shrink)

One of the central concerns of Moran's essay The Expression of Feeling in Imagination1 is to address the problem of fictional emotions - that is, of our emotional responses towards fictional characters, situations or events – and to clarify whether it is essentially related to some form of imagining or another.2 Moran's specific aim is thereby to criticise Walton's solution to the problem in terms of (as it seems) propositional imagining, and to present his own alternative account (...) in terms of emotional imagining. In this paper, I will primarily be concerned with the question of whether he has succeeded in this aim. But I intend also to briefly introduce and discuss towards the end a third approach to the problem and, especially, to the issue of whether imagining plays a central role in the occurrence of fictional emotions. (shrink)

Abstract Gareth Evans and others have argued that our intentional attitudes are transparent to facts in the world. This suggests we can know them by looking outwards to the world rather than inwards to our minds. Richard Moran uses this idea of transparency in his account of self-knowledge. Critics have objected to his account on several counts. For example, Jonathan Way has argued that irrational attitudes can give ordinary self-knowledge when they are not transparent and that there are rational (...) attitudes that are not transparent. I argue here that these objections fail because Way does not fully consider the two different kinds of self-knowledge, ?ordinary? and evidence-based, that differentiate the two stances that Moran claims a subject can have towards his attitudes. It is the differences between these two stances and the implications of these that motivate Moran?s account, rather than whether the formed attitude is rational or irrational, as long as the subject avows it from the deliberative stance, focuses on the attitude?s object and conforms to the transparency condition as Moran sets this out. (shrink)

In this paper I deal with Richard Moran's account of self-knowledge in his book Authority and Estrangement. After presenting the main lines of his account, I contend that, in spite of its novelty and interest, it may have some shortcomings. Concerning beliefs formed through deliberation, the account would seem to face problems of circularity or regress. And it looks also wanting concerning beliefs not formed in this way. I go on to suggest a diagnosis of these problems, according to (...) which they would arise out of a view of agents too strongly dependent on the will. /// Este trabajo se ocupa de la concepción del autoconocimiento en el libro de Richard Moran Authority and Estrangement. Tras presentar las líneas maestras de dicha concepción, sostengo que ésta, a pesar de su novedad e interés, podría adolecer de defectos importantes. Así, con respecto a las creencias formadas mediante la deliberación, la propuesta de Moran parece enfrentarse a problemas de circularidad o de regreso. Y parece también insatisfactoria acerca de creencias no formadas de ese modo. Finalmente, sugiero un diagnóstico de estos problemas, según el cual éstos surgirían de una concepción de los agentes excesivamente dependiente de la voluntad. (shrink)

Richard Moran’s Authority and Estrangement develops a compelling explanation of the characteristic features of self-knowledge that involve the use of ‘I’ as subject. Such knowledge is immediate in the sense of non-inferential, is not evidentially grounded and is epistemically authoritative.1 A&E develops its distinctive explanation while also offering accounts of other features of self-knowledge that are often overlooked, such as the centrality of self-knowledge characterised in this way to the concept of the person and its ethical importance. Moran (...) recognises that were an agent to lack the capacity authoritatively to avow his or her own state of mind this would be an ethically damaging defect. Moran’s treatment of these issues is subtle and in places profoundly insightful. I will argue, however, that there is a loose fit between two separate explanations that he gives of self-knowledge. On the one hand Moran argues that the best explanation of self-. (shrink)

According to the evidential view of testimony (EVT), the epistemic value of testimony is its value as evidence. Richard Moran has argued that because testimony is deliberately produced with the intention of making audiences form a belief, its value as evidence for the attested proposition is diminished; as a result, EVT cannot explain why we regard testimony as such a significant source of knowledge. I argue that this argument against EVT fails, because there is no reason to think that (...) the deliberate nature of testimony diminishes its value as evidence. (shrink)

Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter-relations between the appreciative and ethical character of works as art. Consideration of these issues has a (...) distinguished philosophical history but as the Compass survey article suggests ('Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work's moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1. Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2. Carroll, Noël. Beyond Aesthetics: Philosophical Essays . Cambridge: Cambridge UP, 2009. Part IV consists of six distinct essays on questions concerning the inter-relations between art and morality including the essay cited above and the author's articulation and defence of moderate moralism. 3. Gaut, Berys. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4. Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work's value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5. Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 155–99. A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6. Kieran, Matthew. 'Forbidden Knowledge: The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. A general argument for immoralism is elaborated by outlining when, where and why a work's morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7. Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8. Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9. Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191–200. This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10. Walton, Kendall. 'Morals in Fiction and Fictional Morality, I.' Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials 'Aesthetics and Ethics: The State of the Art.' American Society of Aesthetics online (Jeffrey Dean): http://www.aesthetics-online.org/articles/index.php?articles_id=15 >. 'Art, Censorship and Morality' downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/OU Open2.net as part of the Ethics Bites series): http://www.open2.net/ethicsbites/art-censorship-morality.html >. 'Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran): http://www3.interscience.wiley.com/journal/118557779/abstract >. 'Ethical Criticism of Art.' Internet Encyclopedia of Philosophy (Ella Peek): http://www.iep.utm.edu/a/art-eth.htm >. 'Fascinating Fascism.' New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag): http://www.nybooks.com/articles/9280 >. 'The Beheading of St. John the Baptist (1450s), Giovanni de Paolo' (Tom Lubbock): http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-the-beheading-of-st-john-the-baptist-1450s-giovanni-di-paolo-1684900.html >. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS): http://www.listal.com/video/3848698 >. Sample Syllabus Topic I Autonomism/Aestheticism • Anderson, James C. and Jeffrey T. Dean. 'Moderate Autonomism.' British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism . New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith . Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. 'Tragedy and Moral Value.' Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature . Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. 'The Expression of Feeling in Imagination.' Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. 'Just the Imagination: Why Imagining Doesn't Behave Like Believing'. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. 'The Evaluative Character of Imaginative Resistance'. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. 'Morals in Fiction and Fictional Morality, II'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). 'Morals in Fiction and Fictional Morality, I'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. 'Configuring the Cognitive Imagination.' New Waves in Aesthetics . Eds. K. Stock and K. Thomson-Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. 'Moderate Moralism.' British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapter 10. • ——. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. 'Of the Standard of Taste.' Selected Essays . Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. 'Emotions, Art and Immorality.' Oxford Handbook to the Philosophy of Emotions . Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art? . London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics . Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. 'The Wheel of Virtue: Art, Literature and Moral Knowledge.' Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. 'Art and Cognition.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. 'Art, Imagination and the Cultivation of Morals.' Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. 'Finely Aware and Richly Responsible: Literature and the Moral Imagination.' Love's Knowledge . New York: Oxford UP, 1990. 148–68. • Plato. The Republic . Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. 'Immoralism and the Valence Constraint.' British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 155–99. • ——. 'Ethical Criticism and the Vices of Moderation.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. 'Artistic Value and Moral Opportunism.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. 'Forbidden Knowledge:The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. 'Moral Vices as Artistic Virtues: Eugene Onegin and Alice.' Philosophia 36.2 (2008): 181–93. Focus Questions 1. What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2. What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3. How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4. How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5. What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

I investigate the way in which our conscious judgments can be a guide to our beliefs, a topic discussed by Gareth Evans, Richard Moran, Christopher Peacocke, and Alex Byrne, among others. I argue that our conscious judgments can give us a kind of justification to self-ascribe beliefs which is (i) distinctively first-personal, (ii) non-inferential, and (iii) fallible. I then defend my view from a challenge from "constitutivist" views in the epistemology of introspection, defended by philosophers such as Sydney Shoemaker, (...) according to which only our beliefs themselves give us justification to self-ascribe beliefs. (shrink)

There is an apparent tension in current accounts of the relationship between reason giving and self knowledge. On the one hand, philosophers like Richard Moran (2001) claim that deliberation and justification can give rise to first-person authority over the attitudes that subjects form or defend on the basis of what they take to be their best reasons. On the other hand, the psychological evidence on the introspection effects and the literature on elusive reasons suggest that engaging in explicit deliberation (...) or justification leads subjects to report attitudes that are not consistent with their previous attitudes or with their future behavior. On the basis of these findings, Tim Wilson (2002) argues that analyzing reasons compromises self knowledge. I shall defend a realistic account of the effects of reason giving which is compatible with the empirical findings on introspection and also with the claim that deliberation and justification have epistemic benefits. (shrink)

Abstract: There is much that I admire in Richard Moran's account of how first-person authority may be consistent with self-knowledge as an achievement. In this paper, I examine his attempt to characterize the goal of psychoanalytic treatment, which is surely that the patient should go beyond the mere theoretical acceptance of the analyst's interpretation, and requires instead a more intimate, first-personal, awareness by the patient of their psychological condition.I object, however, that the way in which Moran distinguishes between (...) the deliberative and the theoretical attitudes is ultimately inconsistent with a satisfactory account of psychoanalytic practice; mainly because, despite Moran's claims to the contrary, such a distinction is still inspired by a Cartesian picture of the self. I argue that, in the light of his distinction, Moran may emphasize that an agent's psychological dispositions should be permeable to her decisions and projects, but is forced to reject the idea that permeability could go the other way too. I explore Bernard Williams' notion of acknowledgment and Simone Weil's distinction between two notions of necessity, in order to articulate a notion of receptive passivity which may help us to characterize this second direction of permeability. I finally outline why receptive passivity (and, thereby, the double direction of permeability) is crucial in order to identify the goal of psychoanalytic treatment and, derivatively, to understand how a certain kind of awareness may have a significant therapeutic effect. (shrink)

: Richard Moran argues that Iris Murdoch is an Existentialist who pretends not to be. His support for this view will be shown to depend on his attempt to assimilate Iris Murdoch's discussion of moral ‘vision’ in the parable of the Mother in Law to Sartre's thought on ‘choice’ and ‘orientation’. Discussing both Moran's Murdoch exegesis and Sartre's Being and Nothingness, I develop the Sartrean view to which Moran hopes to assimilate Murdoch, before pointing out how (...) class='Hi'>Moran's assimilation fails. Murdoch's thought that when M is just and loving she sees D ‘as she really is’ cannot be accommodated on Sartre's picture. I develop this point of disagreement between Murdoch and Sartre, and argue that Murdoch has not as Moran claims made a misattribution to Sartre of an unsituated will, but has instead offered a penetrating critique of the central theme of Sartre's epistemology. (shrink)

This essay critically examines the Assurance View of testimony as put forth by Angus Ross (1986) and Richard Moran (1999). The Assurance View holds that someone who offers testimony gives the hearer a non-evidential justification for belief by assuming responsibility for the truth of her testimony. I agree that testimonial justification depends on the teller’s assumption of her responsibility for her testimony, but argue that it is nevertheless evidential justification. Testimonial justification is a sort of evidence that is within (...) the teller’s power to create or withhold at will, and that power is essential to the justification. (shrink)

We assume that we can act—in at least some cases—by consciously intending to do so. Wegner (2002) appeals to empirical research carried out by Libet et al. (1983) to challenge this assumption. I argue that his conclusion presupposes a particular view of conscious intention. But there is an alternative model available, which has been developed by various writers in the phenomenological tradition, and most recently defended by Moran (2001). If we adopt this alternative account of conscious intention, Wegner’s argument (...) no longer goes through, and we can retain the claim that our conscious intentions can give rise to action. (shrink)

The relation of dependency between consciousness and attention is, once again, a matter of heated debate among scientists and philosophers. There are at least three general views on the issue. First, there are those who suggest that attention is both necessary and sufficient for consciousness (e.g. Posner, 1994; Prinz, 2000, forthcoming). Second, there are those who suggest that even though attention is necessary for consciousness, it may not be sufficient (e.g. Moran & Desimone, 1984; Rensink et al., 1997; Merikle (...) & (...) Joordens, 1997). Finally, there are those who suggest that attention is neither necessary nor sufficient for consciousness, that—at most—they are two different processes that happen to be concomitant some of the time, but which, under very specific circumstances, can be shown to come apart (e.g. Lamme, 2003; Koivisto et al., 2005; Koch & Tsuchiya, 2007). Piles of evidence have been marshaled in favor and against each of these alternatives, and as far as I can see, there is no hope of agreement on the horizon. (shrink)

Philosophers have been long interested in delusional beliefs and in whether, by reporting and endorsing such beliefs, deluded subjects violate norms of rationality (Campbell 1999; Davies & Coltheart 2002; Gerrans 2001; Stone & Young 1997; Broome 2004; Bortolotti 2005). So far they have focused on identifying the relation between intentionality and rationality in order to gain a better understanding of both ordinary and delusional beliefs. In this paper Matthew Broome and I aim at drawing attention to the extent to which (...) deluded subjects are committed to the content of their delusional beliefs, that is, to whether they can be regarded as authors of their beliefs (Moran 2001). We consider several levels of commitment one can have to a reported belief, delusional or otherwise, and we distinguish between _ownership_ and _authorship_ of beliefs (Gallagher 2000). After examining some examples of belief authoring (or lack thereof) in psychopathology, we argue that there is no straight-forward and unitary answer to the question whether deluded subjects author their beliefs. Nevertheless, introducing the notion of authorship in the debate can significantly contribute to the philosophical literature on the rationality of delusions and can also have important implications for diagnosis and therapy in psychiatry. (shrink)

David Hume's relatively short essay 'Of the Standard of Taste' deals with some of the most difficult issues in aesthetic theory. Apart from giving a few pregnant remarks, near the end of his discussion, on the role of morality in aesthetic evaluation, Hume tries to reconcile the idea that tastes are subjective (in the sense of not being answerable to the facts) with the idea that some objects of taste are better than others. 'Tastes', in this context, are the pleasures (...) or displeasures that a person can take in the beauties of poems, paintings, and other artistic compositions (though Hume also wants to stress the continuities between tastes, so understood, and the bodily sense of taste). The position at which Hume arrives in the essay (despite some dialectical unclarity) is that some people – the 'true judges'– determine by their 'joint verdict' which works are meritorious. This solution continues to exercise a fascination, as does Hume's complicated route to it. Author Recommends: Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. This paper places 'Of the Standard of Taste' in an especially rich context, and asks why Hume concentrates on true judges instead of the improvement of one's own taste. Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon Press, 1984), 177–208. This chapter, embedded in an exposition of Mothersill's 'First Thesis' (the denial that there are principles of taste) and 'Second Thesis' (the affirmation that some judgments of taste are genuine judgments), gives a detailed running commentary on Hume's essay. A shorter self-contained version of the chapter appeared as 'Hume and the Paradox of Taste' in Aesthetics: A Critical Anthology , 2nd ed., eds. George Dickie, Richard Sclafani, and Ronald Roblin (New York, NY: St. Martin's Press, 1989, 269–86). Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. An importance recent article, Levinson's piece argues that the 'real' difficulty with Hume's essay has gone unnoticed: why should I care about what Hume's true judges think? Christopher Williams, 'Some Questions in Hume's Aesthetics', Philosophy Compass 2/2 (2007). This article provides a brief overview of the topics discussed under weeks 3–5 in the sample syllabus below. It is intended to provide a roadmap for the particular set of readings listed there. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. This is a stimulating paper in moral philosophy that treats Hume's essay on taste as a model for a serious subjectivism. Wiggins then presents his own brand of subjectivism as an alternative to Hume's. Online Materials: Hume's Aesthetics (Ted Gracyk): http://plato.stanford.edu/entries/hume-aesthetics/ Sample Syllabus: Recommended background reading on Hume's historical context: Peter Kivy, The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics , 2nd ed. (Oxford: Oxford University Press, 2003), especially Part III. Recommended background reading on the general topic of taste: David A. Whewell, 'Taste', Blackwell Companion to Aesthetics (Oxford: Blackwell, 1992), 415–18. Dabney Townsend and Carolyn Korsmeyer, 'Taste', Encyclopedia of Aesthetics , ed. Michael Kelly (New York, NY and Oxford: Oxford University Press, 1998), 4:355–62. Ted Cohen, 'The Philosophy of Taste: Thoughts on the Idea', Blackwell Guide to Aesthetics , ed. Peter Kivy (Oxford: Blackwell, 2004), 167–73. Week 1: Hume on beauty, art, and aesthetic judgment in the Treatise of Human Nature and the Enquiry Concerning the Principles of Morals The following references are usable for any complete edition of the Treatise or Enquiry Treatise , 2.1.8 ('Of Beauty and Deformity') Treatise , 2.2.5 ('Of Our Esteem for the Rich and Powerful') Treatise , 2.2.8 ('Of Malice and Envy'), final three paragraphs Treatise , 2.2.11 ('Of the Amorous Passion, or Love Betwixt the Sexes') Treatise , 3.1.2 ('Moral Distinctions Deriv'd from a Moral Sense') Treatise , 3.3.1 ('Of the Origin of the Natural Virtues') Treatise , 3.3.5 ('Some Farther Reflexions Concerning the Natural Virtues') Enquiry , Appendix 1 ('Of moral sentiment') Week 2: Hume's essays Essays Moral, Political, and Literary , ed. Eugene Miller (Indianapolis, IN: LibertyClassics, 1985) is the most commonly used edition today. 'Of the Delicacy of Taste and Passion' 'Of Eloquence' 'Of the Rise and Progress of the Arts and Sciences' 'Of Simplicity and Refinement in Writing' 'Of Tragedy' 'Of the Standard of Taste' Week 3: Circularity–Virtuous or Vicious? Peter Kivy, 'Hume's Standard of Taste: Breaking the Circle', British Journal of Aesthetics (1967): 57–66. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. Week 4: Rules of Art Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon, 1984), 177–208. James Shelley, 'Hume's Double Standard of Taste', Journal of Aesthetics and Art Criticism (1994): 437–45. Nick Zangwill, 'Hume, Taste, and Teleology', The Metaphysics of Beauty (Ithaca, NY: Cornell University Press, 2001), 149–65. Week 5: The True Judge Malcolm Budd, 'Hume and Kant', 'Hume's Standard of Taste', 'Hume and Human Nature', Values of Art (London: Allen Lane, 1995), 16–24 . Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. Week 6: Moralism in Aesthetic Judgment: Hume and Beyond Kendall Walton, 'Morals in Fiction and Fictional Morality', Proceedings of the Aristotelian Society (1994): 27–50. Richard Moran, 'The Expression of Feeling in Imagination', Philosophical Review (1994): 75–106. Tamar Szabo-Gendler, 'The Puzzle of Imaginative Resistance', Journal of Philosophy (2000): 55–81. Focus Questions 1. How does Hume distinguish between matters of 'fact' and 'sentiment'? 2. What is a 'rule of art', and are there any rules? 3. Can a bad critic be 'silenced'? 4. What are the characteristics of good critics? 5. Should we expect good critics to agree on the merits of a work, and should I care about becoming a good critic myself? 6. Is it possible to distinguish variations in taste for which we should expect a standard and variations for which it is 'vain' to have such an expectation? 7. How is the excellence of a work related to the exercise of taste? 8. If a work of literature has a moral outlook that differs from our own, should we consider the work defective on literary grounds? (shrink)

The aim of this article is to present the disagreement between Moran and Walton on the nature of our affective responses to fiction and to defend a view on the issue which is opposed to Moran's account and improves on Walton's. Moran takes imagination-based affective responses to be instances of genuine emotion and treats them as episodes with an emotional attitude towards their contents. I argue against the existence of such attitudes, and that the affective element of (...) such responses should rather be taken to be part of what is imagined. In this respect, I follow Walton; and I also agree with the latter that our affective responses to fiction are, as a consequence, not instances of real emotion. However, this gives rise to the challenge to be more specific about the nature of our responses and explain how they can still involve a phenomenologically salient affective element, given that propositionally imagining that one feels a certain emotion is ruled out because it may be done in a dispassionate way. The answer - already suggested, but not properly spelled out by Walton - is that affectively responding to some fictional element consists in imaginatively re- presenting an experience of emotional feeling towards it. The central thought is that the conscious and imaginative representation of the affective character of an instance of genuine emotion itself involves the respective phenomenologically salient affective element, despite not instantiating it. (shrink)

Ralph Waldo Emerson famously warned his readers against the dangers of conformity and consistency. In this paper, I argue that this warning informs his engagement with and opposition to a Kantian view of rational agency. The interpretation I provide of some of Emerson's central essays outlines a unique conception of agency, a conception which gives substance to Emerson's exhortations of self-trust. While Kantian in spirit, Emerson's view challenges the requirement that autonomy requires acting from a conception of the law. The (...) key to understanding Emerson's opposition to Kant rests in showing how obeying the law requires spontaneity on the part of the agent herself. Emerson's concerns about conformity and consistency further enrich the view of agency, argued for by Richard Moran, according to which we take responsibility for our minds by taking up a first-person deliberative perspective on our minds. Conformity and consistency in one's thinking and acting permits society and one's own past to dictate when deliberation may come to an end, thereby undermining a crucial sense in which an agent, in taking up the deliberative perspective, has taken responsibility for her mind. (shrink)

This paper examines Moran’s argument for the special authority of the first-person, which revolves around the Self/Other asymmetry and grounds dichotomies such as the practical vs. theoretical, activity vs. passivity, and justificatory vs. explanatory reasons. These dichotomies qualify the self-reflective person as an agent, interested in justifying her actions from a deliberative stance. The Other is pictured as a spectator interested in explaining action from a theoretical stance. The self-reflective knower has authority over her own mental states, while the (...) Spectator does not. I highlight the implications of this construal for a theory of action, and call attention onto some other interesting normative relations between the self-reflective agent and the Other that escape both the first-person and the third-person approach. My contention is that the authority of self-reflection (and of reason) is best understood as a relation of mutual recognition between self and others, hence from a second-person stance. (shrink)

Most commonplace moral failure is not conditioned by evil intentions or the conscious desire to harm or humiliate others. It is more banal and ubiquitous – a form of moral stupidity that gives rise to rationalization, self-deception, failures of due moral consideration, and the evasion of responsibility. A kind of crude, perception-distorting self-absorption, moral stupidity is the cause of many moral missteps; moral development demands the development of self-knowledge as a way out of moral stupidity. Only once aware of the (...) presence or absence of particular desires and beliefs can an agent have authority over them or exercise responsibility for their absence. But what is the connection between self-knowledge and moral development? I argue that accounts (such as Kant's and Richard Moran's) which construe instances of self-knowledge as like the verdicts of a judge cannot explain its potential role in moral development, and claim that it must be conceived of in a way that makes possible a process of self-refinement and self-regulation. Making use of Buddhist moral psychology, I argue that when self-knowledge plays a role in moral development, it includes a quality of attention to one's experience best modeled as the work of the craftsperson, not as judge. (shrink)

David Lewis (1969) introduced sender-receiver games as a way of investigating how meaningful language might evolve from initially random signals. In this report I investigate the conditions under which Lewis signaling games evolve to perfect signaling systems under various learning dynamics. While the 2-state/2- term Lewis signaling game with basic urn learning always approaches a signaling system, I will show that with more than two states suboptimal pooling equilibria can evolve. Inhomogeneous state distributions increase the likelihood of pooling equilibria, but (...) learning strategies with negative reinforcement or certain sorts of mutation can decrease the likelihood of, and even eliminate, pooling equilibria. Both Moran and APR learning strategies (Bereby-Meyer and Erev 1998) are shown to promote successful convergence to signaling systems. A model is presented that illustrates how a language that codes state-act pairs in an order-based grammar might evolve in the context of a Lewis signaling game. The terms, grammar, and the corresponding partitions of the state space co-evolve to generate a language whose structure appears to reflect canonical natural kinds. The evolution of these apparent natural kinds, however, is entirely in service of the rewards that accompany successful distinctions between the sender and receiver. Any metaphysics grounded on the structure of a natural language that evolved in this way would track arbitrary, but pragmatically useful distinctions. (shrink)

In my opinion, Richard Moran’s account of the connections between self-knowledge and intentional ac-tion presents a certain unresolved tension. On the one hand, the epistemic privilege of the first person derives from the fact that forming an intention is a matter of the subject endorsing a course of action. An en-dorsing subject is not a mere observer of her intentions. On the other hand, the transparency of endorsement is assimilated to the putative fact that an agent forms her intentions (...) by reflecting on the reasons to make up her mind. The resulting picture is an extremely rationalistic account of intentional action. I will try to defend that this form of practical rationalism can be avoided without renouncing the basic intuitions behind Moran’s use of the notion of endorsement. (shrink)

In Authority and Estrangement Richard Moran takes some rather illuminating steps towards getting rid of the Cartesian picture of self-knowledge. I argue, however, that Moran’s crucial distinction between deliberative and theoretical attitude is seriously contaminated by that traditional picture. More specifically, I will point out why some crucial aspects of the phenomena that Moran describes in terms of the interplay between the theoretical and the deliberative attitude, should rather be interpreted as a process that takes place within (...) the deliberative attitude itself. The theoretical attitude will, as a result, constitute a rather marginal attitude towards one’s own psychological dispositions and experiences, the adoption of which only makes sense in rather peculiar, often pathological, situations. (shrink)

Moran conceives of conscious belief as a conscious activity, rather than awareness of a mental state. Once conscious belief is understood in this way, the notion of suppressed belief becomes problematic. In this paper, I draw on the work of Merleau-Ponty to sketch an account of suppressed belief. I suggest that suppressed beliefs should not be understood as attitudes towards propositions. Instead, they should be conceived as ways of perceiving and interacting with the world that are out of keeping (...) with how one repre-sents it as being. (shrink)

This study proposes a new quadrat method that can be applied to the study of point distributions in a network space. While the conventional planar quadrat method remains one of the most fundamental spatial analytical methods on a two-dimensional plane, its quadrats are usually identified by regular, square grids. However, assuming that they are observed along a network, points in a single quadrat are not necessarily close to each other in terms of their network distance. Using planar quadrats in such (...) cases may distort the representation of the distribution pattern of points on a network. The network-based units used in this article, on the other hand, consist of subsets of the actual network, providing more accurate aggregation of the data points along the network. The performance of the network-based quadrat method is compared with that of the conventional quadrat method through a case study on a point distribution on a network. The χ2 statistic and Moran's I statistic of the two quadrat types indicate that (1) the conventional planar quadrat method tends to overestimate the overall degree of dispersion and (2) the network-based quadrat method derives a more accurate estimate on the local similarity. The article also performs sensitivity analysis on network and planar quadrats across different scales and with different spatial arrangements, in which the abovementioned statistical tendencies are also confirmed. (shrink)