A social conception of science -- The pursuit of forms -- Beyond the doctrine of signs -- Structures of mediation -- Signs in action -- Prospects of communication -- From a rhetorical point of view.
This article examines the disciplinary status and experiential underpinnings of C. S. Peirce's philosophical rhetoric. The first part explores the relationship between grammar and rhetoric in the context of Peirce's theory of signs. Next, a possible tension in Peirce's conception of the scope and function of rhetoric is identified, and a resolution is proposed. The field of rhetorical research is then provisionally characterised as spanning philosophical studies of communication, learning, and methods of inquiry. Rather than being a secondary application that (...) the grammarian can ignore, the complex rhetorical field can be meaningfully construed as both the pre-theoretical starting point and the principal theoretical end of philosophical semeiotic. In the final part of the article, it is argued that the aim of Peirce's pursuit of rhetoric ought to be the improvement of semiotic habits, and this goal is construed as the third and highest conception of learning furnished by his philosophy. Further, it is contended that Peircean rhetoric can provide means for reflexive investigations into our processes and methods of inquiry, communication, and learning—that is, higher-order conceptual tools with which to imaginatively describe, control, and transform educational habits in view of personal and social ideals. (shrink)
: T. L. Short's Peirce's Theory of Signs offers a strong interpretation of semeiotic, advocating a developmental and naturalistic position. This commentary examines some of the main features of Short's approach, raising a number of critical questions concerning the growth of Peirce's thought and the problem of anthropomorphism. First, two possible weaknesses in Short's account of the development of semeiotic, connected to the treatment of the "New List of Categories" and the role of the index, are noted. Next, the menace (...) of anthropomorphism is placed in the context of Peirce's startling affirmation of this point of view. Finally, the article draws attention to Short's bold claim that Peirce's theory of signs needs to be modified in order to accommodate a plurality of final interpretants in view of varying purposes. (shrink)
What's the world made of? Donuts! and Beer! -- Protagoras, Gorgias, Captain Kirk, and Denny Crane -- Socrates : The Sergeant Schultz of Ancient Greece -- Plato is the new American Idol -- Aristotle loves Lucy -- Charlie Harper's Non-Epicurean lifestyle -- St. Augustine's Highway to Heaven -- Scully shaves Mulder with Ockham's Razor -- Larry Hagman dreams of Descartes -- Locke versus Hobbes, or The Brady Bunch takes on Survivor -- Can or can't Kant like vampires? -- Reading Hegel (...) in Outer Space -- John Stuart Mill and the Utilitarian Heroism of Dexter Morgan -- Karl Marx and Adam Smith, meet Alex P. Keaton -- Dr. Gregory House and the Nietzschean Superman -- Don Draper, George Costanza and the non-meaning of life -- Jersey Shore's 'The Situation': The Randian Ideal man with a tan? -- Earl Hickey meets Karma in My name is Earl -- Lost but not least. (shrink)
: This article examines Peirce's semiotic philosophy and its development in the light of his characterisations of "representationism" and "presentationism". In his definitions of these positions, Peirce overtly pits the representationists, who treat percepts as representatives, against the presentationists, according to whom percepts do not stand for hidden realities. The article shows that Peirce's early writings—in particular the essay "On the Doctrine of Immediate Perception" and certain key texts from the period 1868–9—advocate an inferentialist approach clearly associated with representationism. However, (...) although Peirce continues to deny the cognitive import of first impressions throughout his philosophical career, the new view of perception that emerges in the early 1900s indicates a significant move in the direction of a presentationist point of view, a development partly corresponding to changes in his theory of categories. The strongest evidence for this reading is found in Peirce's contention that the percept is not a sign. The discussion concludes with considerations of possible objections and alternatives to the proposed interpretation in addition to some reflections on the consequences and relevance of Peirce's turn toward presentationism. (shrink)
T. L. Short's Peirce's Theory of Signs offers a strong interpretation of semeiotic, advocating a developmental and naturalistic position. This commentary examines some of the main features of Short's approach, raising a number of critical questions concerning the growth of Peirce's thought and the problem of anthropomorphism. First, two possible weaknesses in Short's account of the development of semeiotic, connected to the treatment of the "New List of Categories" and the role of the index, are noted. Next, the menace of (...) anthropomorphism is placed in the context of Peirce's startling affirmation of this point of view. Finally, the article draws attention to Short's bold claim that Peirce's theory of signs needs to be modified in order to accommodate a plurality of final interpretants in view of varying purposes. (shrink)
Paternalism in the medical care of children is appropriate and ethically justifiable. However, dilemmatic disagreement by paternalistic agents as to which clinical choice is in the child's best interest may occur because of the underlying conflict between two rival standards for the moral value of life: longevity versus quality. Neither standard is unreasonable. Either could be the basis for choice of medical care by the parents or by the pediatrician. Having the child choose between options disputed by his parents and (...) the pediatrician is unlikely to resolve their conflict. Exercise of informed consent by the adolescent requires agreement by his parents to relinquish their paternalistic veto. The probable best-interest choice by the child when he has matured could be reasonably made from either standard. Therefore, the longevity/quality of life question ought not ordinarily to be foreclosed by paternalistic authority which opts for one standard to the exclusion of the other. Medical interventions, paternalistically determined, are justified in the face of deteriorating quality, but only as long as the interventions themselves do not cause deterioration. Application of this limitation of paternalism to the zone of agreement between the rival life standards is made to clinical case examples. Multiple extrinsic criteria may measure the quality of life. Three quality factors, sensation of pain, capacity to communicate and physical functioning are considered. The extent of the zone of agreement between the two life standards varies because quality of life is a relative good, contingent both upon which extrinsic criteria are selected to assess it and upon the priorities which are set among these criteria. (shrink)
Bergman's account of Cusanus's view of the relationship between God and the world leaves room for reservations. Bergman maintains that Cusanus is either a pantheist or a panentheist. This view, at variance with Cusanus's explicit theism, is hardly tenable in the light of a suitable interpretation of his apparently pantheistic or panentheistic formulations. Bergman's treatment of enfolding and unfolding, and especially of the arithmetical illustration of those relations, is deficient. His ascription of manifest Platonism to Cusanus's theory (...) of enfolding is objectionable, since, for Cusanus, the enfolding entities are not universals and need not even be existents. The way in which Bergman compares Cusanus with Goethe and with Rudolf Otto is misleading. So is his account of Cusanus's principle of the coincidence of opposites. (shrink)
Bergman's view on the History of philosophy can be characterised as a heuristic doctrine which helps the philosophical pedagogue. Some problems arising from Bergman's religious way of thinking are revealed as underpinning the objections to it, as there are: the multiplicity of systems, the possibility of acquiring final truth, etc. In spite of these objections Bergman's ideas can be maintianed as a very efficient means for a teacher of academic philosophy.
: While the work of such expositors as Max H. Fisch, James J. Liszka, Lucia Santaella, Anne Friedman, and Mats Bergman has helped bring into sharp focus why Peirce took the third branch of semiotic (speculative rhetoric) to be "the highest and most living branch of logic," more needs to be done to show the extent to which the least developed branch of his theory of signs is, at once, its potentially most fruitful and important. The author of (...) this paper thus begins to trace out even more fully than these scholars have done the unfinished trajectory of Peirce's eventual realization of the importance of speculative rhetoric. In doing so, he is arguing for a shift from the formalist and taxonomic emphasis of so many commentators to a more thoroughly pragmaticist and "rhetorical" approach to interpreting Peirce's theory of signs. (shrink)
Six individuals with experience of psychosis were interviewed about their psychotic experiences. The material was analyzed using the empirical phenomenological psychological method. The results consist of a whole meaning structure, a gestalt, entailing the following characteristics: The feeling of estrangement in relationship to the world; the dissolution of time; the loss of intuitive social knowledge; the alienation of oneself, and finally; the loss of intentionality/loss of agency. In brief, the results show that an altered perception of the self and the (...) world was an essential part of the psychotic experience where subjects described themselves as changed; something was sensed as being wrong as psychosis is perceptible but hard to communicate. The normal life-world experience was altered and reality seemed strange. Time perception seemed to be changed as temporality appeared dissolved and the experience of time was focused on the current moment excluding the future. The subjects described loss of intentionality, they were no longer agents in their actions but partly steered by others and they could feel as if their experiences were not theirs. The patients also describe problems regarding their ability to socialize and communicate with others. They seem to lose their intuitive social capacity and were prone to suspiciousness. (shrink)
Approximationism — science approximates the truth as an ideal — is the view of science implicit in all of Einstein's major works, heralded by Hugo Bergman in Hebrew in 1940 and expressed by Karl Popper in 1954 and 1956. Yet Bergman was not sufficiently clear about it, and even Popper is not - as shown by their not giving up certain remnants of the older views which approximationism replaces, even when these remnants are inconsistent with approximationism. Norare the (...) approximationist theories of these authors satisfactory solutions to all the problems which traditional epistemologies purported to solve. Approxiamtionism still is a program rather than a fully blown theory. (shrink)
The relations between philosophy, science and religion preoccupied S.H. Bergman for many years. He wanted to corroborate, by belief, a personal God to whom, and not only about whom, one can speak. This should follow from authentic religious experience, making it independent from philosophy. Furthermore, according to Bergman, religion can do what philosophical reasoning is incapable of doing since he considers belief to be stronger than knowledge. A criticalscrutiny of these assumptions involves some interesting implications concerning toleration, freedom-of-thought (...) and dogmatism. The final conclusion consists in that belief cannot refute philosophical knowledge but can reject it while philosophy can refute belief but cannot reject it. (shrink)
The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...) first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge. (shrink)
My pleasure in being here, at the Studiecentrum Soeterbeeck, to discuss the book Roger Scruton wrote on beauty, is twofold. It so happens that I am finishing a book on facial expression and facial beauty, and the chapter I sent to Roger to request his comments, resurfaced unopened in my own mail box, last week. Apparently something went wrong in the mail. Today I might get some of those comments. Secondly, reading Roger’s book, an impression of a kindred spirit has (...) stuck with me throughout.1) Sometimes, though, something like an ungrounded preference surfaces, which for Roger, clearly has intuitive force, maybe even the force of a conclusion, but for me this doesn’t always ring true. I only mention two instances where my own preferences would be different. One is, where after rightly criticising the reverence allotted to Duchamp’s Fountain, in a single sentence (on p. 98) both Radiohead and Brahms are mentioned, in an obvious effort to disqualify the former. The other is where he defends film as an art by comparing it to traditional art, by pointing to shots from an Ingmar Bergman movie, which “would sit on your wall like an engraving, resonant, engaging and composed.” (p. 102). What the incidental surfacing of such preferences makes available to us is that doing aesthetics is not a merely technical philosophical endeavour, but involves art criticism, from time to time. If you don’t love art or its core values, how could you do aesthetics? And there is a deeper thought behind this in Roger’s writings: that the use of taste belongs to the good life.2) All this, also, indicates my predicament, here and now. I feel most inclined.. (shrink)
Following two introductory sections which deal with the search for meaning and the model of film as a form of probing, I argue that Bergman deals with a number of important philosophical issues within his film corpus. A summary account of the vision which emerges from this corpus is sketched, followed by an analysis of the central role of the artist in society as Bergman conceives it.
Two stages are discernible in S.H. Bergman's philosophical development. The early Bergman differs from the later Bergman as much in the philosophical method as in the choice of the fields of research and problems to deal with. The early Bergman acted predominantly as a philosopher of science, focussing his attention on the ultimate presuppositions of scientific thinking. In the second stage this gave way to speculations of a rather anthropological character. The laterBergman sought to solve the (...) riddle of human existence by a theory centering on the social nature of human rationality and claiming a theological explanation of its emergence. (shrink)
Euthanasia and physician assisted-suicide are terms used to describe the process in which a doctor of a sick or disabled individual engages in an activity which directly or indirectly leads to their death. This behavior is engaged by the healthcare provider based on their humanistic desire to end suffering and pain. The psychiatrist's involvement may be requested in several distinct situations including evaluation of patient capacity when an appeal for euthanasia is requested on grounds of terminal somatic illness or when (...) the patient is requesting euthanasia due to mental suffering. We compare attitudes of 49 psychiatrists towards euthanasia and assisted suicide with a group of 54 other physicians by means of a questionnaire describing different patients, who either requested physician-assisted suicide or in whom euthanasia as a treatment option was considered, followed by a set of questions relating to euthanasia implementation. When controlled for religious practice, psychiatrists expressed more conservative views regarding euthanasia than did physicians from other medical specialties. Similarly female physicians and orthodox physicians indicated more conservative views. Differences may be due to factors inherent in subspecialty education. We suggest that in light of the unique complexity and context of patient euthanasia requests, based on their training and professional expertise psychiatrists are well suited to take a prominent role in evaluating such requests to die and making a decision as to the relative importance of competing variables. (shrink)
Bergman's views on the relation between philosophy and religion are critically examined by following his discussions of the Neo-Kantians and, among others, of Nicolaus Cusanus, Kierkegaard, Buber and Sri Aurobindo. Thereby his thesis that philosophy and religion form a unity is criticised together with his attempt atabandoning philosophy in view of its idealistic results which deprive men of actual reality. Finally it is argued that reason has to be reestablished since despite its being insufficient there is nothing to replace (...) or complement it. (shrink)
Bergman's approach to epistemology has deep roots in the Prague School of philosophy, particularly in the philosophical system of Bolzano and an interest in the problem of inner perception. In his criticism of Kant's system, however, we also find an emphasis on faith as an attitude of trust and confidence between man and God. This move is not meant to present faith as superior to knowledge or replacing it. The trend is rather in the direction of a complex co-existence (...) of the two attitudes. This co-existence comes to the fore in the relation between construction and evidence and a certain delineation of the spheres to which these concepts can be applied. The suggestion is that in spite of the presence of evidence in the inner realm of human perception, that realm is open to the immanent sphere. Paradoxically self-certainty exhibited in faith goes beyond the self, while construction as a liberate activisation of the self remains within the empirical. (shrink)
The idea that films can be philosophical, or in some sense 'do' philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The Matrix , make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important (...) observation is that some films can be used to provide philosophy students with vivid and thought-provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to 'the film itself' or to the 'specificity of the cinematic medium'. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio-visual display, the film-maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film-makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta-philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology , Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento . London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema's philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy . Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work's meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman's philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self-knowledge in some of Bergman's works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film , Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions , Gattaca , and Memento . Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy . Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition . Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy . London: Routledge. Ably surveys and responds to arguments against the idea that films can 'do philosophy'. It defends a conditionalist form of intentionalism in response to the 'imposition objection' according to which it is only the commentator who reads philosophical themes 'into' the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film-Philosophy http://www.film-philosophy.com/ > Founded in 1996, this peer-reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e-mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. 'Philosophy of Film.' The Stanford Encyclopedia of Philosophy ; http://plato.stanford.edu/entries/film/ > A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films http://www.philfilms.utm.edu/2/filmlist.htm > A briefly annotated list of philosophical films grouped in rubrics such as 'The Meaning of Life' and 'Environmental Ethics'. Sample Syllabus What follows is a 4-week 'start-up module' followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. 'Recent Work on Cinema as Philosophy.' Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747-9991.2008.00158.x ). Wartenberg, Thomas E. 2009. 'Film as Philosophy.' The Routledge Companion to Philosophy and Film . Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. 'The Philosophical Limits of Film.' The Philosophy of Film and Motion Pictures: An Anthology . Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, 'Theses on Cinema as Philosophy.' Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. 'For God and Country.' Interpreting the Moving Image . Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. 'Film as Philosophy: In Defense of a Bold Thesis.' Journal of Aesthetics and Art Criticism , 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. 'Arguing over Cinema as Philosophy.' Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor's areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. 'Ingmar Bergman.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. 'Skepticism.' In The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film . Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. 'Why be Moral?' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. <span class='Hi'>Harold</span> Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. 'Personal Identity.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ' Memento and Personal Identity: Are We Getting it Backwards?' Memento . Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. 'The Value of Memory: Reflections on Memento. ' Memento . Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. 'Gattaca.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author's views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film's philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (shrink)
In the opening chapter of this groundbreakingwork, Bruce Kawin asks: can a film?which isalready the dream of its maker and its audience,and which can present ...
Graham Oppy examines contemporary arguments for and against the existence of God. He shows that none of these arguments are persuasive enough to change the minds of those participants on the question of the existence of God. His conclusion is supported by detailed analyses of contemporary arguments, as well as by the development of a theory about the purpose of arguments, and the criteria that should be used in judging whether or not an argument is successful. Oppy discusses the work (...) of a wide array of philosophers, including Anselm, Aquinas, Descartes, Locke, Leibniz, Kant and Hume, and more recently, Plantinga, Dembski, White, Dawkins, Bergman, Gale, and Pruss. (shrink)
The Psychological Study of Social Memory Phenomena Very often our memories of the past are of experiences or events we shared with others. And “in many circumstances in society, remembering is a social event” (Roediger, Bergman, & Meade, 2000, p.129): parents and children reminisce about significant family events, friends discuss a movie they just saw together, students study for exams with their roommates, colleagues remind one another of information relevant to an important group decision, and complete strangers discuss a (...) crime they happened to witness together. Psychology is at the heart of recent interdisciplinary efforts to understand the relationships between an individual remembering alone, an individual remembering in a group, and the group itself remembering. (shrink)
In the first essay of this book, Stanley Cavell characterizes philosophy as a "willingness to think not about something other than what ordinary human beings think about, but rather to learn to think undistractedly about things that ordinary human beings cannot help thinking about, or anyway cannot help having occur to them, sometimes in fantasy, sometimes as a flash across a landscape." Fantasies of film and television and literature, flashes across the landscape of literary theory, philosophical discourse, and French historiography (...) give Cavell his starting points in these twelve essays. Here is philosophy in and out of "school," understood as a discipline in itself or thought through the works of Shakespeare, Molière, Kierkegaard, Thoreau, Brecht, Makavejev, Bergman, Hitchcock, Astaire, and Keaton. (shrink)
Kraus, O. Biographical sketch of Franz Brentano.--Stumpf, C. Reminiscences of Franz Brentano.--Husserl, E. Reminiscences of Franz Brentano.--Gilson, E. Brentano's interpretation of medieval philosophy.--Gilson, L. Franz Brentano on science and philosophy.--Titchener, E. B. Brentano and Wundt: empirical and experimental psychology.--Chisholm, R. M. Brentano's descriptive psychology.--De Boer, T. The descriptive method of Franz Brentano.--Spiegelberg, H. Intention and intentionality in the scholastics, Brentano and Husserl.--Marras, A. Scholastic roots of Brentano's conception of intentionality.--Chisholm, R. M. Intentional inexistence.--McAlister, L. L. Chisholm and Brentano on intentionality.--Chisholm, (...) R. M. Brentano's theory of correct and incorrect emotion.--Moore, G. E. Review of Franz Brentano's The origin of the knowledge of right and wrong.--Franks, G. Was G. E. Moore mistaken about Brentano?--Kotarbinski, T. Franz Brentano as reist.--Terrell, D.B. Brentano's argument for reismus.--Bergman, H. Brentano's theory of induction.--Kraus, O. Toward a phenomenognosy of time consciousness. (shrink)
The Public Broadcasting System’s series Frontline has served as one of the major documentary and public affairs program on American television since its debut in 1983. Emerging at a time when the U.S. television networks were dramatically cutting back on documentary and public affair’s television, producer David Fanning and his team have produced a series of award-winning programs on issues ranging from programs on the Gulf War, Afghanistan war, and Iraq to producer Ofra Bikel's investigation of the Little Rascals sexual (...) abuse case to Martin Smith and Lowell Bergman's chronicle of America's drug wars. (shrink)
The notion of a pseudo-interior algebra was introduced by Blok and Pigozzi in [3]. We continue here our studies begun in [6]. As a consequence of the representation theorem for pseudo-interior algebras given in [6] we prove that the variety of all pseudo-interior algebras has the amalgamation property. Using algebraic methods of Bergman [1] we find infinitely many varieties of pseudo-interior algebras with this property.
Nel Noddings is arguably one of the premier philosophers of moral education in the English?speaking world today. Although she is outside the mainstream theory, research, and practice traditions of cognitive?developmentalism (the Kohlberg legacy) and of character education (which is in public ascendancy), her body of work is unrivalled for originality of insight, comprehensiveness and coherence. Whilst Carol Gilligan's In a different voice (1982) introduced the ethic of caring into academic and public discourse, it is Noddings ?who has done most to (...) outline a specific feminist position on moral education? (McClellan, 1999, p. 104), and whose influence extends to educational practice. This essay explicates Noddings's vision in sufficient depth to make the foregoing claims credible. Thematic focus is given to her attention to the ethical self or ethical ideal. The paper also examines Noddings's perspective on character education and the need to incorporate a morality of evil into any serious educational philosophy or practice. It is less a critical appraisal of that vision and perspective than an invitation to others to more fully engage with Noddings's writings.1. (shrink)
In May 2010, philosophers, family and friends gathered at the University of Notre Dame to celebrate the career and retirement of Alvin Plantinga, widely recognized as one of the world's leading figures in metaphysics, epistemology, and the philosophy of religion. Plantinga has earned particular respect within the community of Christian philosophers for the pivotal role that he played in the recent renewal and development of philosophy of religion and philosophical theology. Each of the essays in this volume engages with some (...) particular aspect of Plantinga's views on metaphysics, epistemology, or philosophy of religion. Contributors include Michael Bergman, Ernest Sosa, Trenton Merricks, Richard Otte, Peter VanInwagen, Thomas P. Flint, Eleonore Stump, Dean Zimmerman and Nicholas Wolterstorff. The volume also includes responses to each essay by Bas van Fraassen, Stephen Wykstra, David VanderLaan, Robin Collins, Raymond VanArragon, E. J. Coffman, Thomas Crisp, and Donald Smith. (shrink)
