We often use the words "emotion" and "feeling" as very nearly convertible ... See The Basis of Criticism in the Arts (Cambridge, Mass.,), p. ...

A partir de J.-P. Sartre y M. Heidegger, se aborda la relación entre temporalidad, conciencia y comprensión, y se examina la experiencia de la indeterminación vinculada a la intuición del límite de lo pensable y expresable, con el fin de articular la filosofía y la poesía como formas de acercamiento a dicho límite. Se plantean dos presupuestos: el cuestionamiento de la demarcación radical entre indagación filosófica y expresión poética, y la aproximación racional, pero sin prejuicios racionalistas, a los límites del (...) pensar y del decir. Con ello se reivindica una forma de entender la filosofía que parte de M. Heidegger y alcanza brillantes expresiones en M. Foucault y J. Derrida. On the basis of J.-P. Sartre and M. Heidegger, the article addresses the relation among temporality, consciousness, and understanding, and examines the experience of indeterminacy that is linked to the intuition of the limits of what can be thought and expressed, in order to articulate philosophy and poetry as forms to approach that boundary. Two presuppositions are set forth; the questioning of the radical demarcation between philosophical inquiry and poetic expression, and the rational approach to the limits of thinking and saying, but without rationalist prejudices. Thus, we assert a way of understanding philosophy that originates in M. Heidegger and achieves a brilliant expression in M. Foucault and J. Derrida. (shrink)

Expressing Our Attitudes pulls together over a decade of work by Mark Schroeder, one of the leading figures in contemporary metaethics. Two new and seven previously published papers weave treatments of propositions, truth, and the attitudes together with detailed development of competing alternative expressivist frameworks and discussion of their relative advantages. A substantial new introduction both offers new arguments of its own, and provides a map to reading these essays as a unified argument.Along with its sister volume, Explaining the Reasons (...) We Share, this volume advances the theme that metaethical inquiry is continuous with other areas of philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 1-18 [Access article in PDF] Aesthetic Inquiry in Education:Community,Transcendence, and the Meaning of Pedagogy Hanan A. Alexander What does it mean to understand education as an art, to conceive inquiry in education aesthetically, or to assess pedagogy artistically? Answers to these queries are often grounded in Deweyan instrumentalism, neo-Marxist critical theory, or postmodern skepticism that tend to fall prey to (...) the paradoxes of radical relativism and extreme subjectivism. 1 This essay offers an alternative, communitarian account of education as an art and a neo-Kantian approach to aesthetic inquiry in education that avoids these difficulties.I begin by examining the emergence of aesthetic inquiry in education in the context of the larger qualitative revolution in educational research. The struggle to justify the qualitative turn in educational thought was initially framed in terms of two influential doctrines: that cognition and affect on the one hand, and truth, beauty, and goodness on the other, can be clearly distinguished from one another. Qualitative methods were conceived as an alternative research paradigm — a new epistemology — in keeping with Thomas Kuhn's influential book The Structure of Scientific Revolutions. 2 Qualitative research, on this account, is a cognitive endeavor aimed at discovering a form of knowledge no less valid and reliable than that produced by quantitative methodologies. This way of framing the discussion led to the dichotomizing of positivist and postpositivist epistemologies, one embracing absolutism, objectivism, and rationalism, the other relativism, subjectivism, and romanticism. 3 This approach succeeded in pointing to some serious flaws in the prevailing positivist account of social research, yet it left qualitative inquiry dependent on versions of epistemological relativism and subjectivism that philosophers of knowledge have shown to be self-contradictory and incoherent. 4 [End Page 1]Conceiving of pedagogy in aesthetic terms challenges the prevailing positivist epistemology on a deeper level because it questions the accepted distinctions between thinking and feeling, and between truth, beauty, and goodness. If art can be conceived as a form of cognitive inquiry in addition to affective expression, then the appreciation and assessment of education as art requires not merely a new research paradigm or an alternative epistemology. Rather, it entails a reshuffling of our very conception of the relations between science, art, and ethics.These concepts can be reconceived to avoid the paradoxes of radical relativism and extreme subjectivism if we recognize with Iris Murdoch that sovereignty belongs to communal conceptions of a transcendent good. Educational arts empower people to express, appreciate, and critique collective conceptions of goodness, and artistic criticism of pedagogy celebrates a sacred dimension in educational thought and practice. 5 This approach occasions a fresh look not only at the practice, appreciation, and assessment of pedagogy, but also at the very meaning of the concept of education and the sorts of inquiry that can fruitfully inform its practice. Two Dogmas of Educational Research Two dogmas have dominated educational research for most of this century: the idea that there exists a clear disjunction between the cognitive and affective domains; and the supposed radical independence from one another of truth, beauty, and goodness. 6 According to a popular view rooted in these doctrines, the search for truth is a cognitive affair governed by science, while ethics and the arts are tied to the emotions and the humanities. Inquiry into the former is objective — reliability depends on method not researcher — and into the latter, subjective — results can vary according to interpreter. In this attitude, the cognitive domain dominates the public arena through the influence and prestige of science and measurement. 7Until the middle 1970s, behavioral and social research in education expressed these dichotomies in the distinction made between quantitative and qualitative research. The former was thought to be scientific and objective, the latter, humanistic and subjective. As qualitative inquiry came into its own in the 1980s, its proponents sought justification and legitimization in accord with cognitive dominance. 8 First, they argued that qualitative research methods had checks against error as rigorous as its quantitative counterparts. 9 Later, the cognitive domain... (shrink)

Physical dimensions like “mass”, “length”, “charge”, represented by the symbols [M], [L], [Q], are not numbers, but used as numbers to perform dimensional analysis in particular, and to write the equations of physics in general, by the physicist. The law of excluded middle falls short of explaining the contradictory meanings of the same symbols. The statements like “m tends to 0”, “r tends to 0”, “q tends to 0”, used by the physicist, are inconsistent on dimensional grounds because “m”, “r”, (...) “q” represent quantities with physical dimensions of [M], [L], [Q] respectively and “0” represents just a number—devoid of physical dimension. Consequently, due to the involvement of the statement “q tends to 0'', where q is the test charge” in the definition of electric field leads to either circular reasoning or a contradiction regarding the experimental verification of the smallest charge in the Millikan–Fletcher oil drop experiment. Considering such issues as problematic, by choice, I make an inquiry regarding the basic language in terms of which physics is written, with an aim of exploring how truthfully the verbal statements can be converted to the corresponding physico-mathematical expressions, where “physico-mathematical” signifies the involvement of physical dimensions. Such investigation necessitates an explanation by demonstration of “self inquiry”, “middle way”, “dependent origination”, “emptiness/relational existence”, which are certain terms that signify the basic tenets of Buddhism. In light of such demonstration I explain my view of “definition”; the relations among quantity, physical dimension and number; meaninglessness of “zero quantity” and the associated logico-linguistic fallacy; difference between unit and unity. Considering the importance of the notion of electric field in physics, I present a critical analysis of the definitions of electric field due to Maxwell and Jackson, along with the physico-mathematical conversions of the verbal statements. The analysis of Jackson’s definition points towards an expression of the electric field as an infinite series due to the associated “limiting process” of the test charge. However, it brings out the necessity of a postulate regarding the existence of charges, which nevertheless follows from the definition of quantity. Consequently, I explain the notion of undecidable charges that act as the middle way to resolve the contradiction regarding the Millikan–Fletcher oil drop experiment. In passing, I provide a logico-linguistic analysis, in physico-mathematical terms, of two verbal statements of Maxwell in relation to his definition of electric field, which suggests Maxwell’s conception of dependent origination of distance and charge ) and that of emptiness in the context of relative vacuum. This work is an appeal for the dissociation of the categorical disciplines of logic and physics and on the large, a fruitful merger of Eastern philosophy and Western science. Nevertheless, it remains open to how the reader relates to this work, which is the essence of emptiness. (shrink)

This paper starts from the debate between proponents of a neo-Lockean psychological continuity view of personal identity, and defenders of the idea that we are simple mental substances. Each party has valid criticisms of the other; the impasse in the debate is traced to the Lockean assumption that substance is only externally related to its attributes. This suggests the possibility that we could develop a better account of mental substance if we thought of it as having an internal relation to (...) its states. I suggest that we may be able to do this by relying on the notion of expression. In developing this idea I draw heavily on aspects of Wittgenstein's philosophical psychology, while also developing and criticizing Strawson's account of persons and recent work by Lynne Baker. I conclude by arguing that mental substance, understood in this way, can only be grasped in narrative terms; substantialist and narrative accounts of personal identity, far from being opposed, are mutually supporting and require one another to be coherent. (shrink)

ABSTRACT It has been frequently observed in the literature that assertions of plain sentences containing predicates like fun and frightening give rise to an acquaintance inference: they imply that the speaker has first-hand knowledge of the item under consideration. The goal of this paper is to develop and defend a broadly expressivist explanation of this phenomenon: acquaintance inferences arise because plain sentences containing subjective predicates are designed to express distinguished kinds of attitudes that differ from beliefs in that they can (...) only be acquired by undergoing certain experiences. Its guiding hypothesis is that natural language predicate expressions lexically specify what it takes for their use to be properly ‘grounded’ in a speaker's state of mind: what state of mind a speaker must be in for a predication to be in accordance with the norms governing assertion. The resulting framework accounts for a range of data surrounding the acquaintance inference as well as for striking parallels between the evidential requirements on subjective predicate uses and the kind of considerations that fuel motivational internalism about the language of morals. A discussion of how the story can be implemented compositionally and of how it compares with other proposals currently on the market is provided. (shrink)

According to Matthew Lipman, the community of philosophical inquiry can be understood as a social matrix generating a variety of social relationships and building up the framework of the cognitive matrices whose outcomes are cognitive relationships. From this perspective, the community, intended both as an existential as well as a social structure, is the ground for the emergence and development of complex thinking involving both critical, creative and caring cognitive processes. A community goes back to a pattern of relationships (...) and interactions built on the recognition and acceptance of a cultural, ideological, religious or social reference with which the members of the group identify, and which represents the reason for them to form as a group. Communities generate relationships of commitment, sharing, and understanding that are the ground of caring thinking habits, but they are also the generative context of a process of continuous building/re-building/validation of shared meanings and sensibilities which is the ground for critical thinking. In a community context the dynamic between individual-individual and individual-community is both the expression and the management of conflict and opposition, and the construction of new existential, expressive and cognitive forms that allow for the emergence of thoughts capable of composition, integration, qualitative leaps, and surpassing and transcending phases therefore generating creative forms of thinking. As such, the community of philosophical inquiry represents a socio-relational matrix that is inseparably both epistemic and existential, and which reverberates along new links that build up between objects, between people, and within the world in a continuous circuit, and in which new senses and meanings are always being generated. For these reasons it can be extended to many other contexts other than those involving the teaching of complex thinking to children and adolescents, including a community development. (shrink)

We present diverse evidence for the claim of Pullum and Rawlins (2007) that expressives behave differently from descriptives in constructions that enforce a particular kind of semantic identity between elements. Our data are drawn from a wide variety of languages and construction types, and they point uniformly to a basic linguistic distinction between descriptive content and expressive content (Kaplan 1999; Potts 2007).

Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.

The field of my inquiry is the field of judgement. I focus primarily on the difficulties involved in the act of judging. What I emphasize, after Kant, is the absence of preexisting rules for judgement in its purest form. ;I interpret Cavell's discussion of Rawls' theory of justice as probing the implications of the fact that there will always be for the individual a judgement to be made of the distance between our own society and the ideal well ordered (...) society. It is here I claim that the concept of the example comes into play. To elaborate this I show how Rousseau uses his experience of consent to the Republic of Geneva to provide an example, or a standard of judgement to the individual's seeking whether and how to express consent to their society. ;In my paper on the Kant's Third Critique I argue that what is most central in the judgement of taste is that it is the reflection and expression the individuality of the judge of taste and its function is to provoke one to rely on one's own sense of the world. It is primarily through the analysis of the relation of genius to taste that I elaborate the centrality of individuality but my claim is that this relation manifests itself also between the judge of taste and a community of taste. ;The concept of exemplarity leads me to the distinction between what can be said and what can be shown. In the paper on Wittgenstein's Tractatus I want to combat what I take to be a false understanding of the distinction between showing and saying which makes what is shown to be some property of the world that cannot be stated in language. I explain what Wittgenstein means by the notion of form and how it is that form only shows itself through language. I further see the overall design of the text as an exemplary reworking of Wittgenstein's philosophical experience. I thus interpret the idea of throwing away the ladder as a claim that the propositions of the book are of use only as an example to provoke one to thoughts of one's own. (shrink)

Together with the volume “Inquiries in philosophical pragmatics: Theoretical developments,” this book collects selected contributions to the conference Pragmasophia II held in Lisbon in 2018. The eleven essays of this volume focus on how a linguistic structure or expression manifests a pragmatic phenomenon, and are ordered considering their relationship with the specificity of the context. The first three papers, devoted to the topics of prototype-based generalizations, scalar implicatures, and temporal ordering, propose new insights into pragmatic phenomena considering linguistic behavior independent (...) of the social activity in which it is placed. In the last papers, the analytical and empirical goal becomes predominant. Here, the theoretical advances are considered as instruments for analyzing specific texts, such as marketplace interactions, courtroom speech, schizophrenic discourse, narratives of literary texts for children or deception in movies. In between, three papers devoted to emotive or loaded words bridge the passage from more theoretical to more empirical and context-oriented works. (shrink)

Actions expressing emotions (such as caressing the clothes of one's dead friend in grief, or tearing apart a photograph out of jealousy) pose a notorious challenge to action theorists. They are thought to be intentional in that they are in some sense under the agent's control. They are not thought to be done for a reason, however, because they cannot be explained by considerations that favor them from the agent's point of view. This seems to be the case, at least, (...) if one subscribes to the Davidsonian standard model of action explanation. So far, philosophers have had three different reactions to this challenge. Rationalists insist that such actions can be rationalized by re-interpreting them. Arationalists insist that there simply is no reasoning process moving agents in emotional states to act. A third reaction questions the intentionality of such actions altogether. All three reactions, however, share the assumption underlying the standard account: if an agent is thought to act for a reason - and hence acts intentionally - he must entertain a desire and some means-end belief reflecting his reasoning process about how to attain what he desires by acting. In this paper, I try to show that this reflective reasoning mechanism is only one way to rationalize an action. Another way is by tracing an action to an unreflective valuing stance respresenting reasons the agent has from his point of view. Emotions are attitudes that help to grasp reasons the agent has. Since emotions come with a strong motivational potential they move the agent to act expressively. But the agent typically allows himself to do so, thereby monitoring the way in which he does it. To the extent that the agent unreflectively acts on a motive that is itself representative of his point of view, his expressive actions can be regarded as rationalizable. (shrink)

Together with the first volume “Inquiries in philosophical pragmatics: Theoretical developments,” this book collects contributions that represent the state of the art on the interconnection between pragmatics and philosophy. While the first volume presents the philosophical dimension of pragmatics, showing the path from theoretical advances to practical uses and approaches, this second volume offers a specular view on this discipline. Instead of adopting the top-down view of the first volume, this collection of eleven chapters starts from the analysis of linguistic (...) data – which include texts and discourses in different languages, different types of dialogues, different types of interactions, and different modes for expressing meaning – looking for the regularities that govern our production and processing. The chapters are ordered according to their relationship with the themes and methods that define the field of pragmatics. The more explored and classical linguistic issues such as prototype-based generalizations, scalar implicatures, and temporal ordering, lead gradually to the more recent and debated topic of slurs and pejorative language, and finally to the interdisciplinary and more pioneering works addressing specific context of language use, such as marketplace interactions, courtroom speeches, schizophrenic discourse, literary texts for children, and multimedia communication. (shrink)

When spontaneous expressions such as smiling or crying have been at issue in Anglophone philosophy of action, the touchstone has been Donald Davidson’s belief-desire account of action. In this essay, I take a different approach. I use Elizabeth Anscombe’s formal conception of intentional action to capture the distinction and unity between intentional action and spontaneous expression. Anscombe’s strategy is to restrict her inquiry to the class of acts to which a certain sense of the question ‘Why?’ has application. Applying (...) Anscombe’s strategy to an area she did not consider other than by contrast, I argue that spontaneous expressions are subject to a different but intimately related why-question. Both questions elicit non-observational knowledge. But where the question posed to intentional actions opens up a means-end order (an order of practical reasoning) this is not true of the corresponding question for spontaneous expressions. Our explanations of our own spontaneous expressions have conceptual and normative dimensions, but they do not display an inferential order. Anscombe, taking a formulation from Aquinas, describes practical knowledge as the cause of what it understands. I conclude by arguing that this formulation also holds true of our understanding of our own smiles and episodes of crying. (shrink)

Simonet, Emanuel Nicolas Cortes Advance care planning is a significant and important process of end-of-life care. It provides the opportunity for persons to express their medical treatment preferences prior to losing the capacity to decide for themselves. It also allows for the appointment of substituted decision maker to make medical decisions for persons who have lost capacity. Whilst advance care planning can be beneficial when it is used effectively, the legislative framework surrounding advance care planning is complex and confusing. This (...) brief article will summarise advance care planning, its current legislative framework in Victoria and how proposed recommendations offered by the Inquiry into end of life choices may simplify advance care planning. (shrink)

What does it mean to understand religious traditions most fundamentally as communities of inquiry? This is the question raised by Brandon Daniel-Hughes' Pragmatic Inquiry and Religious Communities, which uses Peirce's writings on inquiry to frame religious traditions as "large-scale hypotheses, expressed in religious symbols, narratives, and rituals that work to signify reality…by cultivating beliefs and rules for action that may truly indicate the real world and orient believers with it by guiding them into more harmonious relations with (...) one another and their environments". Academic interest in Peirce and religion has been steady for several decades, and has perhaps even grown in recent years. Such... (shrink)

It is quite common among historians of Arabic logic to attribute MS Aḥmad iii, no. 3401, entitled Al-manṭiq al-kabīr, to Fakhr al-Dīn Rāzī. This view is expressed explicitly...

Semantic relativism maintains that the truth-value of some propositions is sensitive to a judge parameter, facilitating cases whereby a proposition can be true relative to one judge, but false relative to another. Most prominently, semantic relativism has been applied to predicates of personal tastes (PPTs). Recently, Lasersohn [2007. “Expressives, Perspective and Presupposition.” Theoretical Linguistics 33 (2): 223–230; 2017. Subjectivity and Perspective in Truth-Theoretic Semantics. Oxford: Oxford University Press] has urged an extension of semantic relativism to terms traditionally construed as expressives (...) including derogatory epithets (e.g. ‘asshole’) and, more tentatively, expressions like ‘damn’. In this paper, we challenge Lasersohn’s extension of relativism. Section 1 gives a background on semantic theories for expressives and on semantic relativism. In Section 2, we focus on Lasersohn’s [2007. “Expressives, Perspective and Presupposition.” Theoretical Linguistics 33 (2): 223–230] account where he attempts to apply relativism to a wider range of expressives. We argue that because PPTs and expressives have fundamentally different semantic functions, the prospects for a relativistic account are slim. Several problems are presented. Our focus is on the perspective sensitivity of expressive content and the phenomenon of projection failure, as both reveal a fundamental disparity between expressives and PPTs. (shrink)

Sociological approaches to inquiry on emotion in educational settings are growing. Despite a long tradition of research and theory in disciplines such as psychology and sociology, the methods and approaches for naturalistic investigation of emotion are in a developmental phase in educational settings. In this article, recent empirical studies on emotion in educational contexts are canvassed. The discussion focuses on the use of multiple methods within research conducted in high school and university classrooms highlighting recent methodological progress. The methods (...) discussed include facial expression analysis, verbal and nonverbal conduct, and self-report methods. Analyses drawn from different studies, informed by perspectives from microsociology, highlight the strengths and limitations of any one method. The power and limitations of multimethod approaches is discussed. (shrink)

There may be a possibility that young women find it difficult to express their female ways of knowing and gain equal public representation. This leads us to reflect on a possible gap between a well developed theory of justice in P4C and pedagogical practices of social influence. In this paper I attempt to reflect on these questions provisionally, and suggest an initial theoretical framework for discussing such issues within the P4C movement. First, I report some personal and social narratives that (...) were described by individual writers. These narratives reflect, mostly, female authors’ personal histories from childhood to adulthood, and how their carrier choices were influenced by prevailing constructed gender roles. Second, I discuss the theory of the Community of Inquiry (CI) and examine the possibilities for self transformation and women liberation that this practice allows. Third, I introduce Hannah Arendt’s argument that education should not attempt to present the future of the human condition as finite and resolved. (shrink)

Davidson’s well-known language skepticism—the claim that there is no such a thing as a language—has recognizably Gricean underpinnings, some of which also underlie his continuity skepticism—the claim that there can be no philosophically illuminating account of the emergence of language and thought. My first aim in this paper is to highlight aspects of the complicated relationship between central Davidsonian and Gricean ideas concerning language. After a brief review of Davidson’s two skeptical claims and their Gricean underpinnings, I provide my own (...) take on how Davidson’s continuity skepticism can be resisted consistently with his rejection of the Gricean priority claim, yet without giving up some of Grice’s own insights regarding the origins of meaning. (shrink)

The assumption that a complex and fuzzy notion like smile can be the basis of a scientific, rather than semantic, inquiry can only lead to confused and inconclusive results. It would be more productive to start with the well-defined and measurable patterns of the clearly visible contrasts that are produced on the human face by various muscular contractions around the white patches formed by the sclera and the teeth. These features are universal, whereas a common word, in whatever language, (...) is necessarily ambiguous, culture-dependent, and historically rather than biologically determined. (shrink)

In fragment B 18 (DK) Xenophanes asserts that ‘Not from the outset did the gods reveal all things to mortals’ but that ‘in time, as they seek, men discover better.’ The remark has been understood in different ways but is usually read as a rejection of the view of the gods as the givers of all good things and an expression of faith in the capacity of human beings to make progress through their own efforts. I argue that the ‘hymn (...) to progress’ reading of B 18 is unjustified by any other aspect of Xenophanes’ thought and at odds with his generally dour view of the intelligence and character of his fellow citizens. A detailed analysis of the fragment supports the view that Xenophanes is here rejecting belief in divine revelation through natural signs and affirming the value of historiê or inquiry in the form of travel and direct observation. (shrink)

The media have become an important arena where struggles over the symbolic legitimacy of expert authority take place and where scientific experts increasingly have to compete for public recognition. The rise of authoritarian and populist leaders in many countries and the growing importance of social media have fueled criticism against scientific institutions and individual researchers. This paper discusses the new hidden forms of suppression and self-censorship regarding scientists’ roles as public experts. It is based on two web surveys conducted among (...) Finnish researchers in 2015 and 2017. We focus on answers to the open-ended questions in these surveys, where respondents reflect upon issues of freedom of expression and the feedback they receive in public arenas. Building on previous research on suppression, “research silencing,” and the “chilling effect,” we discuss the connection between freedom of expression and freedom of inquiry. We make a distinction between four forms of suppression: political and economic control, organizational control, control between rival academics, and control from publics. Moreover, we make explicit and discuss the means, motives, and practices of suppression within each of these four forms. (shrink)

A pervasive and influential argument appeals to trivial truths to demonstrate that the aim of inquiry is not the acquisition of truth. But the argument fails, for it neglects to distinguish between the complexity of the sentence used to express a truth and the complexity of the truth expressed by a sentence.

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of artistic expression. (...) Restricting the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

Those who have considered the connection between Dewey’s theory of inquiry and Greek thought have mostly situated their remarks within larger points, regarding either teaching and learning (Garrison, 1997; Johnston, 2006b; Cahn, 2007) or aesthetics and craft (Alexander, 1987; Hickman, 1990). The fact that this area remains somewhat underexplored could be chalked up to several factors: 1) Dewey was often quite critical of the classical tradition, particularly when it came to theories of knowledge, 2) Dewey was not a trained (...) classicist, with little working knowledge of ancient Greek, and was self-admittedly not a historian of philosophy, and 3) whenever Dewey did turn positive attention toward ancient thought, he tended to speak in generalities, referring most often to “the Greeks” rather than any particular Greek thinker. In spite of this, there remain many compelling reasons to place Dewey’s views on inquiry in meaningful dialogue with the classical tradition. I will suggest that the most compelling of all is the link between Dewey’s view of inquiry and his particular brand of naturalism, which found its fullest expression late in his career. This is an underappreciated connection in Dewey’s work on inquiry, either taking a backseat to the instrumental, experimental themes in his thought or misinterpreted as a form of positivism/scientism. Once acknowledged, however, this connection could help bring Dewey’s normative, socio-political writings in line with his theories on ontology, logic, and the acquisition of knowledge. (shrink)

A re-issue of Darwin's pioneer work on expression. In addition to the text, this edition includes a brief preface by Margaret Mead and added illustrations meant to show the results of some recent work in the field established by Darwin's inquiry.---R. B.

How should those who value reasonable pluralism navigate ethical and epistemological challenges related to speech and inquiry in higher education? We propose the ethical pursuit of public knowledge as a guiding vision for public colleges and universities with the understanding that other institutions will serve different purposes. The ethical criterion of mutuality calls for engagement across difference and reciprocal recognition of others’ basic equality and liberty. To maintain epistemic legitimacy, knowledge-production processes in these institutions should elevate ideas warranted by (...) public reasons that have withstood rigorous critical scrutiny above those that have not. Some forms of speech—including the expression of extremist views on both the Right and the Left—will prove unreasonable and incompatible with the guiding vision and should therefore be marginalized within these institutions. (shrink)

Amie Thomasson's Norms and Necessity offers a non-factualist theory of the language of metaphysical necessity, centering on the idea that statements of necessity express semantic norms. This article identifies a potential problem for the view by distinguishing two kinds of conditional necessity, investigates a solution derived from a well-known parallel pair of conditional necessities in deontic logic, but finds it is not up to the job. The last part of the paper suggests a different route, largely in keeping with the (...) underlying ideas behind Thomasson's approach. (shrink)

The main concern of this paper is the justification of the axioms of Zermelo-Fraenkel set theory, either as true statements about a concept of set or, alternatively, as true statements about abstract objects . I want to argue here that, in either case, set theory can be seen as a body of knowledge largely built on intuitive foundations . I call this inquiry “phenomenological” for it approaches its subject from the perspective of the intentional acts that originate sets as (...) doubly dependent objects . Such an inquiry, I believe, brings to light the essential characters of sets as objects or, alternatively, the concept of set, which the axioms of the theory express. (shrink)

The main concern of this paper is the justification of the axioms of Zermelo-Fraenkel set theory, either as true statements about a concept of set or, alternatively, as true statements about abstract objects. I want to argue here that, in either case, set theory can be seen as a body of knowledge largely built on intuitive foundations. I call this inquiry “phenomenological” for it approaches its subject from the perspective of the intentional acts that originate sets as doubly dependent (...) objects. Such an inquiry, I believe, brings to light the essential characters of sets as objects or, alternatively, the concept of set, which the axioms of the theory express. (shrink)

The title accurately reflects the two chief philosophic aims of the book: the construction of a theory of inquiry, and of a theory of reality. The author’s intent, announced at the outset, is "to develop a systematic philosophy with the ultimate goal of disclosing the significance of man in the universe." He calls his approach a "pragmatic synthesis," since, he explains, it is a pragmatic defense of the "warrant" and the integration of ordinary and scientific beliefs with propositions affirming (...) emergence, potentiality, and internal relations drawn variously from "emergentism, Aristotelianism, and absolute idealism." He expresses much indebtedness to Dewey and James; he is also inspired by Lester F. Ward. (shrink)

Most of us have felt, at one time or another, an attraction to the idea that fate plays a role in our lives. It is difficult to dismiss entirely the notion that certain things were somehow meant to be. Perhaps key events did not just happen but were inevitable, maybe even a part of our destiny. As thoughtful and critical beings, however, we may find that we cannot explain to ourselves or to others just what fate means. In this groundbreaking (...) work, Michael Gelven confronts the question of fate and shows how it is possible to think clearly about fate without abandoning logic or philosophical sophistication. Dismissing the mysterious or the psychological, Gelven subjects the issue to rigorous philosophical examination, thereby opening the topic to critical and rational sensibility. Gelven raises the challenging question "what is fate?" and seeks to answer it by expressing the problem in terms of what it means to be fated. Chance, destiny, fortune, inevitability--these four aspects of fate provide the foundation for the investigation. Gelven closely examines these aspects through four corresponding figures--the gambler, the historian, the birthday celebrant, and the tragedian--and demonstrates how each interacts with fate. His findings are both surprising and provocative. Finally, Gelven explores the full significance of what it means to be an individual buffeted by uncontrolled destinies. Placing the great human issues of freedom, mortality, rationality, and truth within the context of his discussion, Gelven reveals how our existential meaning is indeed consistent with our being fated. Written in clear, nontechnical language for the philosophical audience as well as for those who are simply perplexed by fate's wanton authority, Why Me? offers an enlightening and stimulating inquiry into the nature of our existence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature (...) of art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature (...) of art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

Ann Margaret Sharp, American philosopher of education, believed that friends could, in fact, be quite critical of one another. Writing in her essay, “What is a Community of Inquiry,” she states,... but children know that the group has taken on a great significance for them: each one’s happiness means as much to each of them as their own. They truly care for each other as persons, and this care enables them to converse in ways they never have before. They (...) can engage in inquiry without fear of rebuff or humiliation. They can try out ideas that they never would have thought of expressing before just to see what happens.I am grateful to the friends of Sharp who spent time in pursuit of understanding her work and its... (shrink)

The problem posed in this paper is 'Can those interferences with liberty of expression which are necessary and desirable be indicated in some simple, general way, e.g. in terms of some principle or principles of the kinds with which J. S. Mill sought to delimit the interferences with freedom of action?' It is argued that although J. S. Mill sought to defend 'the fullest freedom of expression', he in fact allowed important interferences of kinds which render the formulation of a (...) principle covering them difficult. Further, it is maintained that the important liberal arguments advanced by the great exponents of liberalism are such that they admit as being necessary, legitimate, and desirable, a wide range and variety of interferences, where these interferences are such that they must be determined in the light of the facts in the concrete situation and not on the basis of some general principle. (shrink)