Aiming to complicate this story, Dan Arnold confronts a significant obstacle to popular attempts at harmonizing classical Buddhist and modern scientific thought: since most Indian Buddhists believe that the mental continuum is uninterrupted ...
This article, Based on a study of the "euthyphro," "apology" and "crito," suggests that for socrates (and therefore, Presumably, The young plato) piety is service to the dialectic, And that for socrates the dialectic itself takes over the position reserved in the popular religion for the gods (thus making socrates guilty, At least metaphorically, Of the charge of believing in "other new divine powers"). Part one seeks to establish that the dialectic controls the pious man's beliefs; part two, That it (...) controls his destiny; and part three, That it controls his identity. Failure to engage in, Or disobedience to the dialectic "leads to the worst forms of immorality, And brings down judgments that reduce the gods to low comedy, Men to tragedy." it is further argued that because socrates held the dialectic to be fundamental, He also held that the only just form of government is democracy. (shrink)
The Mīmāṃsāka doctrine of "svatah prāmānya" ("intrinsic validity") has seldom been given the serious philosophical attention it deserves. This doctrine in fact grows out of a sophisticated critique of epistemological foundationalism. This critique, as well as the larger project that it serves, has striking similarities with the philosophical project advanced in William Alston's "Perceiving God". A comparison of the two helps to highlight the strengths and the problems of both projects, and shows, perhaps more importantly, that the Mīmāṃsāka doctrine is (...) in fact still relevant, as it resembles one of the more interesting positions currently in play in contemporary philosophy. (shrink)
Quine has argued that modal logic began with the sin of confusing use and mention. Anderson and Belnap, on the other hand, have offered us a way out through a strategy of nominahzation. This paper reviews the history of Lewis's early work in modal logic, and then proves some results about the system in which "A is necessary" is intepreted as "A is a classical tautology.".
Transpersonal psychology first emerged as an academic discipline in the 1960s and has subsequently broadened into a range of transpersonal studies. Jorge Ferrer (2002) has called for a 'revisioning' of transpersonal theory, dethroning inner experience from its dominant role in defining and validating spiritual reality. In the current paradigm he detects a lingering Cartesianism, which subtly entrenches the very subject-object divide that transpersonalists seek to overcome. This paper outlines the development and current shape of the transpersonal movement, compares Ferrer's epistemology (...) with the heterophenomenology of Daniel Dennett, and speculates on the integration of the latter into transpersonal theory. (shrink)
Daniel Russell's Practical Intelligence and the Virtues is principally a defense of the Aristotelian claim that phronesis is part of every unqualified virtue—a defense of what Russell calls "hard virtue theory" and "hard virtue ethics." The main support for this is the further claim that we would be unable to act well reliably, or form our character reliably, without phronesis performing its "twin roles": correctly identifying the mean of each virtue, and integrating the mean of each virtue with those (...) of others so as to enable us to act in an overall virtuous manner. In following Russell's argument for these claims, we find much else of interest, including a persuasive account of right action and a resurrection of the old doctrine of cardinal virtues. Here I seek first to give readers a sense of the range and depth of this important book by summarizing the main lines of its argument. But I also raise some critical points, the most substantive of which concern his treatments of the unity of the virtues and of responsibility for character. (shrink)
Daniel Dennett has argued that consciousness can be satisfactorily accounted for in terms of physical entities and processes. In some of his most recent publications, he has made this case by casting doubts on purely conceptual thought experiments and proposing his own thought experiments to "pump" the intuition that consciousness can be physical. In this paper, I will summarize Dennett's recent defenses of physicalism, followed by a careful critique of his position. The critique presses two flaws in Dennett's defense (...) of physicalism. First, I will rebut his case against the traditional conceptual arguments against physicalism. Second, I will present some empirical grounds (empirical scientific findings on blind sight and tactile vision substitute systems) for thinking that a crucial move in the argument against physicalism is well-supported. For someone, like Dennett, who finds conceptual arguments dubious, the empirical findings make it exceptionally difficult to deny the anti-physicalist argument. (shrink)
The correspondence between Edgar Anderson and Ernst Mayr leading into their 1941 Jesup Lectures on “Systematics and the Origin of Species” addressed population thinking, the nature of species, the relationship of microevolution to macroevolution, and the evolutionary dynamics of plants and animals, all central issues in what came to be known as the Evolutionary Synthesis. On some points, they found ready agreement; for others they forged only a short term consensus. They brought two different working styles to this project (...) reflecting their different appreciations of what was possible at this point in evolutionary studies. For Mayr, it was a focused project with definitive short term conclusions imminent while Anderson viewed it as an episode in an ongoing historical process that, while exciting and suggestive, remained openended. Thus, Mayr and Anderson represent two distinct perspectives on the Evolutionary Synthesis in formation; by understanding both of their points of view, we can grasp more fully the state of evolutionary theory at this key moment. (shrink)
Tracing the contributions of Edgar Anderson (1897-1969) of the Missouri Botanical Garden to the important discussions in evolutionary biology in the 1940s, this paper argues that Anderson turned to corn research rather than play a more prominent role in what is now known as the Evolutionary Synthesis. His biosystematic studies of Iris and Tradescantia in the 1930s reflected such Synthesis concerns as the species question and population thinking. He shared the 1941 Jesup Lectures with Ernst Mayr. But rather (...) than preparing his lectures as a potentially key text in the Synthesis, Anderson began researching Zea mays -- its taxonomy, its origin, and its agronomic role. In this study, Anderson drew on the disciplines of taxonomy, morphology, genetics, geography, anthropology, archaeology, and agronomy among others in his own creative synthesis. Though his maize research in the 1940s represented the most sustained work of his career, Anderson was also drawn in many directions during his professional life. For example, he enjoyed teaching, working with amateurs, and popular writing. (shrink)
We present axiomatizations of the deontic fragment of Anderson's relevant deontic logic (the logic of obligation and related concepts) and the eubouliatic fragment of Anderson's eubouliatic logic (the logic of prudence, safety, risk, and related concepts).
Max Anderson and Peter Escher's The MBA Oath addresses the need for a set of ethical standards to provide guidance to MBA graduates as they go about their everyday professional business. Their oath is relevant to the concerns of others in business but clearly was inspired by the special problems they encountered in the classroom as members of the Harvard MBA class of 2009. The oath and the book itself evolved from the financial meltdown of 2008 for which MBAs (...) often felt that they were being held accountable. Our review begins with the oath itself. Then we turn to the rest of the book in which we have organized our comments around its strengths and weaknesses. (shrink)
From its dissonant musics to its surrealist spectacles (the urinal is a violin!), Modernist art often seems to give more frustration than pleasure to its audience. In Untwisting the Serpent, Daniel Albright shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media--Igor Stravinsky's The Rite of Spring is a ballet, Gertrude Stein's Four Saints in Three Acts is (...) an opera, and Pablo Picasso turned his cubist paintings into costumes for Parade. Focusing on collaborations with a musical component, Albright views these works as either figures of dissonance that try to retain the distinctness of their various media (e.g. Guillaume Apollinaire's Les Mamelles de Tiresias ) or figures of consonance that try to lose themselves in some total effect (e.g. Arnold Schoenberg's Erwartung ). In so doing he offers a fresh picture of Modernism, and provides a compelling model for the analysis of all artistic collaborations. Untwisting the Serpent is the recipient of the 2001 Susanne M. Glasscock Humanities Book Prize for Interdisciplinary Scholarship of the Center for Humanities Research at Texas A&M University. (shrink)
Foreword by Students' Committee.--Signatures of the Graduate Faculty members.--Faculty foreword.--Introduction: The life and the political philosophy of Arnold Brecht.--Relative and absolute justice.--The rise of relativism in political and legal philosophy.--The search for absolutes in political and legal philosophy.--The myth of is and ought.--The impossible in political and legal philosophy.--The latent place of God in twentieth-century political theory.--Bibliography of books and articles by Arnold Brecht (p. -174)--Biographical summary of Arnold Brecht.
One of the most influential philosophical voices in the consciousness studies community is that of Daniel Dennett. Outside of consciousness studies, Dennett is well-known for his work on numerous topics, such as intentionality, artificial intelligence, free will, evolutionary theory, and the basis of religious experience. (Dennett, 1984, 1987, 1995c, 2005) In 1991, just as researchers and philosophers were beginning to turn more attention to the nature of consciousness, Dennett authored his Consciousness Explained. Consciousness Explained aimed to develop both a (...) theory of consciousness and a powerful critique of the then mainstream view of the nature of consciousness, which Dennett called,. (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 . • 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 . 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)
In The illusion of conscious will , Daniel Wegner offers an exciting, informative, and potentially threatening treatise on the psychology of action. I offer several interpretations of the thesis that conscious will is an illusion. The one Wegner seems to suggest is "modular epiphenomenalism": conscious experience of will is produced by a brain system distinct from the system that produces action; it interprets our behavior but does not, as it seems to us, cause it. I argue that the evidence (...) Wegner presents to support this theory, though fascinating, is inconclusive and, in any case, he has not shown that conscious will does not play a crucial causal role in planning, forming intentions, etc. This theory's potential blow to our self-conception turns out to be a glancing one. (shrink)
Questions about Leibniz's views on the ontological status of the corporeal world have been at the center of debate in Leibniz scholarship for more than two decades, and one of the major players in these debates has been Daniel Garber. Having sketched his influential position in a number of articles over the years, he now gives full expression to his view in this highly anticipated and long-awaited book.
The article is a critical notice of Daniel Garber, Leibniz: Body, Substance, Monad. Garber presents a developmental reading of Leibniz's metaphysics that focuses on Leibniz's evolving analysis of body and force as the key to his account of substance. Garber claims that Leibniz shifts from an early theory of body to a theory of corporeal substance in his middle years, and only develops a theory of monads in his later writings—and that even then Leibniz looks not to abandon the (...) scheme of corporeal substances but to reconcile it with that of monads. The present article considers several challenges to Garber's interpretation, questioning, among other things, Garber's claims about development and Garber's account of Leibniz's primary arguments for the theory of monads. The article concludes that while crucial elements of the standard interpretation of Leibniz as an idealist can be defended against Garber's critique, the original traditional view that takes the theory of monads as the first and most fundamental principle of Leibniz's metaphysics is no longer sustainable. (shrink)