_Imagination_ is an outstanding contribution to a notoriously elusive and confusing subject. It skillfully interrelates problems in philosophy, the history of ideas and literary theory and criticism, tracing the evolution of the concept of imagination from Hume and Kant in the eighteenth century to Ryle, Sartre and Wittgenstein in the twentieth. She strongly belies that the cultivation of imagination should be the chief aim of education and one of her objectives in writing the book has been to put forward reasons (...) why this is so. Purely philosophical treatment of the concept is shown to be related to its use in the work of Coleridge and Wordsworth, who she considers to be the creators of a new kind of awareness with more than literary implications. The purpose of her historical account is to suggest that the role of imagination in our perception and thought is more pervasive than may at first sight appear, and that the thread she traces is an important link joining apparently different areas of our experience. She argues that imagination is an essential element in both our awareness of the world and our attaching of value to it. (shrink)

The monster and the woman thus find themselves on the same side, the side of dissimilarity. “The female is as it were a deformed male,” added Aristotle . As she belongs to the category of the different, the female can only contribute more figures of dissimilarities, if not creatures even more monstrous. But the female is a necessary departure from the norm, a useful monstrosity. The monster is gratuitous and useless for future generations. Aristotle’s seminal work on the generation of (...) monsters posited a rigorously physical definition that was not necessarily linked to deformities: “Monstrosities,” he wrote, “come under the class of offspring which is unlike its parents” . Further, while a “monstrosity, of course, belongs to the class of ‘things contrary to Nature,’ … it is contrary not to Nature in her entirety but only to Nature in the generality of cases” .The monster, defined repeatedly by its lack of resemblance to its legitimate parents, is also monstrous in another important way, one that Aristotle described as a false resemblance to different species: “People say that the offspring which is formed has the head of a ram or an ox; and similarly with other creatures, that one has the head of another.… at the same time, in no case are they what they are alleged to be, but resemblances only” . The monster is thus a double imposture. Its strange appearance—a misleading likeness to another species, for example—belies the otherwise rigorous law that children should resemble their parents. Further, monsters offer striking similarities to categories to which they are not related, blurring the differences between genres, and disrupting the rigorous order of nature. Thus, if the monster were defined in the first place as that which did not resemble him who engendered it, it nevertheless displayed some sort of resemblance, albeit a false resemblance to an object external to its conception. Marie-Hélène Huet is William R. Kenan Professor of Romance Languages at Amherst College. She is the author of Rehearsing the Revolution: The Staging of Marat’s Death, 1793-1797 and is currently completing a book on literature and tetratology. (shrink)

Nearly one in every 100 adults in the United States is in jail or prison today. In a period dominated by calls to roll back the government in all areas of social and economic policy, we have witnessed its massive expansion in the realm of penal policy since the 1970s. The U.S. incarceration rate is now more than 737 per 100,000 people, or five to 12 times the rate of Western European countries and Japan . The reach of the U.S. (...) carceral state extends far beyond the 2.2 million men and women currently in prison or jail in the United States. On any given day, over 7 million people__or 1 in every 32 adults__are incarcerated or on probation or parole . This rate of state supervision is unparalleled in U.S. history.These overall figures on incarceration belie the enormous and disproportionate impact that this bold and unprecedented social experiment has had on certain groups in U.S. society. If current trends continue, one in three black men and one in six Hispanic men are expected to spend some time in jail or prison during their lives . The number of incarcerated African_American men has grown so rapidly over the past quarter_century that today more black men are behind bars than enrolled in colleges and universities .[1]Some contend that growing public dismay over the crushing economic burden of incarcerating and monitoring so many people heralds the beginning of the end of the prison boom . As evidence, they point to recent penal developments in the states. Severe budget deficits prompted by the 2001 recession forced some states to close prisons and lay off guards. Dozens of states experimented with new sentencing formulas, mostly directed at nonviolent offenders.[2] Fiscally conservative Republicans previously known for being penal hard_liners championed some of these recent relaxations in penal policy. This fueled speculation that law_and_order Republicans, troubled by mounting costs, are well poised to roll back the carceral state, much as red_baiter Richard Nixon was ideally situated to breach the great political wall with China.We should be cautious, however, about assuming that fiscal pressures and the recent softening of public opinion sparked by the plummeting crime rate over the past decade will automatically forge a durable consensus that will dismantle the carceral state.[3] It was mistakenly assumed three decades ago that shared disillusionment on the right and the left with the rehabilitative ideal would shrink the prison population. Instead, it exploded. Criminal justice policies often confound conventional distinctions between left and right, particularly on issues related to crime victims. The relationship between political leaders, social movements, interest groups, and governing institutions is highly contingent and volatile in the case of penal policy because the left_right divide is more blurred and because of certain institutional features of the U.S. criminal justice system and welfare state.[4]While economic arguments against the carceral state are important and compelling, they have their limitations. If properly pitched, they can help forge a consensus to reverse the prison boom. But they can also be used to propel mean_spirited budget cuts that do not significantly reduce the size of the prison population__or save much money__ but do render life in prison and life after prison leaner and meaner. Criminal justice reform to reverse the prison boom is a highly fragile project that cannot be underwritten primarily by fiscal concerns. Without some broader vision and movement for change, the U.S. carceral state, trimmed down a little by a few modest sentencing and drug law reforms, will be here to stay. Such a movement is beginning to coalesce in the United States. Opponents have begun to portray the carceral state not only as a financial liability but also as a moral liability and a pressing civil and human rights issue that perverts cherished democratic institutions, like the right to vote. They have also begun to focus public attention on how the prison boom has exacerbated economic and social inequalities and is a growing menace to public health. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

Some commentators have condemned Kant’s moral project from a feminist perspective based on Kant’s apparently dim view of women as being innately morally deficient. Here I will argue that although his remarks concerning women are unsettling at first glance, a more detailed and closer examination shows that Kant’s view of women is actually far more complex and less unsettling than that attributed to him by various feminist critics. My argument, then, undercuts the justification for the severe feminist critique of Kant’s (...) moral project. (shrink)

Οἱ ἀρχαίες τεχνικές συναρμαλόγησης τραβέρσας μέ τους βραχίονες τῆς λύρας δέν περιγράφονται μέ ἀκρίβεια στίς φιλολογικές πηγές. Ή ἐπανασύνθεσή τους εἶναι παρολαυτά δυνατή ἄν μελετήσουμε τίς εἰκονογραφήσεις (ἀττική κεραμεική), πού δείχνουν ὅτι τά τεμάχια αὐτά εἶναι γομφωμένα. Ή μελέτη τοῦ μοναδικοῦ δείγματος ἐλληνικής λύρας, τῆς «λύρας Elgin », μᾶς ἐπιτρέπει νά καταλάβουμε τήν ἐργασία και τή συναρμολόγηση τῶν τεμαχίων πού ἦταν γομφωμένα. 'Ορισμένες ἐνιγματικές λεπτομέρειες πού ἀπεικονίζονται στά ἀγγεία ἐξηγούνται καί αὐτές. Παρατηροῦμε δτι οἱ λεπτομέρειες τῆς λύρας του « θρόνου (...) τῆς Βοστόνης » εἶναι πιστές στίς ἀπεικονίσεις καί ἀντιστοιχούν ἀκριβώς στήν κατασκευή τῆς « λύρας Elgin ». Οἱ ἀναλογίες ὅμως τοῦ ὀργάνου καί ἡ στάση τοῦ λυράρη εἶναι παράλογες. (shrink)

Le fragment d'épinétron 907 du Musée d'Eleusis représente une Amazone sonnant de la trompette et appelant ses compagnes aux armes ; elle est entourée de lettres jusqu'à présent considérées comme dépourvues de sens : TOTOTETO(T)H. Ces syllabes appartiennent en réalité à une notation musicale de type « solfégique » qui ne nous était connue jusqu'ici que par des théoriciens postérieurs au IIe siècle ap. J.-C, qui la faisait cependant remonter à Damon. Cette inscription constitue le plus ancien document musical grec (...) parvenu jusqu'à nous : œuvre du peintre de Sappho, l'épinétron est daté des débuts du Ve siècle. Elle atteste l'ancienneté de la notation solfégique, la première qu'aient connue les Grecs. (shrink)

Annie Bélis, À propos de la coupe CA 482 du Louvre. P. 53-59 Sur la coupe CA 482 du Louvre, le Peintre d'Hésiode a figuré, avec son élégance et son raffinement habituels, une jeune femme qui tient une cithare en berceau : sur ses genoux est posé un objet qui a résisté jusqu'à présent à toute tentative d'identification. Plusieurs hypothèses, peu satisfaisantes, ont été formulées. Schéma et mesures à l'appui, on montre qu'il s'agit en réalité d'une deuxième cithare en berceau, (...) posée à plat et donc vue de profil. Le a pris soin de lui donner exactement les mêmes dimensions et les mêmes au détail près, que l'autre. Reste une inconnue : le nom antique de la cithare en. (shrink)

Πρόκειται γιά διπλό ξύλινο αὐλό, ἐξαιρετικά καλά διατηρημένο. 'Αποτελεῖται ἀπό δυό σωλῆνες πού σχηματίζονται ἀπό ἕνα στόμιο καί ἕναν ὅλμο, καί ἀπό τόν « βόμβυκα » · ἔχουν 7-9 τρύπες, ἀπό τίς ὁποῖες μιά γιά τόν ἀντίχειρα στό κάτω μέρος καί τῶν δυό σωλήνων. Ἡ θέση τους ποικίλλει σημαντικά ἀπό σωλήνα σέ σωλήνα καί μπορεῖ κανείς νά ἀποκατάσταση τῆς μουσικῆς κλίμακας τοῦ ὀργάνου, σύμφωνα μέ ὑπολογισμούς πού χρησιμοποιοῦσαν οἱ Ἕλληνες θεωρητικοί. Μ' αὐτό τόν τρόπο ἀποδεικνύεται ὅτι ὁ διπλός αὐλός δέν (...) ἐπινοήθηκε γιά ἐκτέλεση ἐτεροφώνων μελωδιῶν : ὁ ὀργανοποιός ἀνοίγει τρύπες σέ δυό σωλῆνες, ἐκεί πού θά τοῦ ἦταν ἀδύνατο νά τό κάνει μόνο στον ἕνα χωρίς νά χαλάσει τό ὄργανο. Στό διπλό αὐλό τοῦ Λούβρου μπορεῖ νά ἐκτελεσθούν 16 νότες · πρόκειται γιά ὄργανο ἐξαιρετικῆς κατασκευῆς πού προορίζεται γιά δεξιοτέχνη. Μπορεῖ νά χρονολογηθεῖ στά τέλη τοῦ 4ου αἰώνα. (shrink)

Τό λατινικό scabellum, οι ελληνικές «κρούπεζαι» είναι βοηθητικά αντικείμενα πού χρησιμοποιούν οί αυλητές : αποτελείται άπό Ινα διπλό ξύλινο πέλμα ενισχυμένο ενδεχομένως μέ μέταλλο πού ό οργανοπαίχτης κινεί μέ τό πόδι · γιά νά γίνει πιό ηχηρό καμμιά φορά υπάρχουν δύο κύμβαλα ανάμεσα στά δύο πέλματα · μελέτη τών ελληνικών δρων · προέλευση καί λειτουργία τοΰ οργάνου, ειδικότερα στή Βοιωτία · σχέσεις μέ τόν Βάταλο πού αναφέρεται στην επιγραφή τοΰ Διονυσίου της Θάσου · σχέσεις μεταξύ αύλου, ρ* υθμοΰ καί εργασίας (...) " συμπεράσματα πάνω στους μουσικούς ^υθμούς στην Ελλάδα καί στή Τώμη. (shrink)

A partir des témoignages littéraires et des représentations figurées les plus précises, on décrit cet accessoire que portaient les aulètes et certains joueurs de σάλπιγξ, et l'on détermine dans quelles limites chronologiques le port de la φορβειά est attesté. Le problème principal concerne son utilité ou sa fonction, question débattue depuis l'Antiquité, tant par les scholiastes que par Plutarque, et sur laquelle les modernes sont en désaccord. D'autre part, comme la φορβειά ne se conçoit que pour des instruments à anches, (...) et comme on voit des joueurs de trompette la porter, entre la fin du VIe s. et le début du Ve, il apparaît que des trompettes à anches ont été jouées en Grèce, ce que des témoignages écrits confirment. Il est sûr que cet instrument a été en usage chez les Romains : il en existe un témoignage archéologique (inédit), découvert à Pompéi. (shrink)

On one of the reliefs in the famous Passage of the Theoria Apollo is depicted holding aloft a cithara, all of whose parts, detached from the wall, are today broken (left upright strut above the crosspiece and the whole right-hand section of the instrument). If a reconstruction drawing of how the complete cithara originally looked is made on the basis of the surviving elements, it can be seen that it is more squat and less high than similar instruments generally are, (...) a large number of which are depicted on red-figure vases, with the dates usually proposed by sculpture experts to place the Theoria relief in a chronological context. The cithara that we see is closer in its proportions to the slightly earlier ones which appear on black-fîgure pottery at around 490 B. C. The form and type of the Theoria cithara thus argue in favour of a high date for the whole monument. (shrink)

Σε ένα μελανόμορφο αμφορέα του Εθνικού Μουσείου της Αθήνας απεικονίζεται μία σκηνή που, εκ πρώτης όψεως, μοιάζει κοινή : ένας μουσικός παίζει δίαυλο και παρευρίσκονται τρεις ακροατές. Αλλά κάποιος άλλος απέναντί του τον ακούει προσεκτικά : μία χήνα που τον κυττάζει με τεντωμένο λαιμό και ολοστρόγγυλο μάτι. Προτείνεται μία ερμηνεία στην αταίριαστη παρουσία του τόσο άμουσου αυτού πτηνού.

Classical logic has proved inadequate in various areas of computer science, artificial intelligence, mathematics, philosopy and linguistics. This is an introduction to extensions of first-order logic, based on the principle that many-sorted logic (MSL) provides a unifying framework in which to place, for example, second-order logic, type theory, modal and dynamic logics and MSL itself. The aim is two fold: only one theorem-prover is needed; proofs of the metaproperties of the different existing calculi can be avoided by borrowing them from (...) MSL. To make the book accessible to readers from different disciplines, whilst maintaining precision, the author has supplied detailed step-by-step proofs, avoiding difficult arguments, and continually motivating the material with examples. Consequently this can be used as a reference, for self-teaching or for first-year graduate courses. (shrink)

InWisdom, Information and Wonder, Mary Midgley tackles the question at the root of our civilization: What is knowledge for?

In the Philippines, all transplant centers are mandated by the Department of Health (DOH) to have a Hospital Transplant Ethics Committee (HTEC) to ensure that donations are altruistic, voluntary and free of coercion/commercial transactions. This study was undertaken primarily to describe the organizational and functional profile of existing HTECs and identify areas for improvement. This is a descriptive cross‐sectional study. There was variation in their logistical arrangements (support from hospital, filing systems, office spaces), operations (length and frequency of meetings, number (...) of referrals) and membership (composition, qualifications, occupation, training). The approval rate for donor‐recipient pairs is high with the majority of cases made by living non‐related donors. Appropriate reasons were cited for rejection. The perception of HTECs is that they are competent and confident in their decision‐making. However, there is a need to standardize HTEC composition, provide operating procedures and additional training which can be done by the DOH. (shrink)

En quoi consiste, ou devrait consister, l'éthique professionnelle en enseignement? Comment se manifeste-t- elle dans les gestes pédagogiques? Selon quels critères peut-on la juger? Comment développer l'éthique professionnelle dans le cadre des formations initiale et continue en enseignement? En tenant compte du contexte social et culturel du Québec, des principes éthiques déjà énoncés par le ministère de l'Education ainsi que des lois, codes et conventions ayant des incidences sur la pratique enseignante, les auteures présentent des éléments à considérer pour la (...) réflexion éthique sur l'agir professionnel. Elles proposent des clarifications conceptuelles et un certain nombre de repères et de balises afin de guider les enseignants et de stimuler la discussion sur l'éthique professionnelle, non seulement dans la classe, mais aussi dans l'école et dans la société. (shrink)

We know we have thoughts, but are we aware that we have styles of thought? This book, written by one of the most gifted and celebrated social thinkers of our time, is a contribution to understanding the rules of the different styles of thinking. Author Mary Douglas takes us through a range of thought styles from the vulgar to the refined. Throughout this fascinating journey, Thought Styles shows us how the different styles work and how outsiders can learn the styles (...) of insiders. The discussion ranges from the style of folklore to the styles of therapy, shopping, religion, and animal rights. The result is a book full of insight. Readers will find themselves thinking in new ways about the mechanics of communication in everyday life. Professionals and researchers in sociology, communication, and anthropology will especially appreciate this auspicious new book. (shrink)

How is hope to be found amid the ethical and political dilemmas of modern life? Writer and philosopher Mary Zournazi brought her questions to some of the most thoughtful intellectuals at work today. She discusses "joyful revolt" with Julia Kristeva, the idea of "the rest of the world" with Gayatri Spivak, the "art of living" with Michel Serres, the "carnival of the senses" with Michael Taussig, the relation of hope to passion and to politics with Chantal Mouffe and Ernesto Laclau. (...) A dozen stimulating minds weigh in with their visions of a better social and political order. The result is a collaboration - of writing, of thinking, and of politics - that demonstrates more clearly than any single-authored project could how ideas encountering one another can produce the vision needed for social change. (shrink)

Plato famously promised to complement the Sophist and the Statesman with another work on a third sort of expert, the philosopher--but we do not have this final dialogue. Mary Louise Gill argues that Plato promised the Philosopher, but did not write it, in order to stimulate his audience and encourage his readers to work out, for themselves, the portrait it would have contained. The Sophist and Statesman are themselves members of a larger series starting with the Theaetetus, Plato's investigation of (...) knowledge, and the whole series relies on the Parmenides, the second part of which presents a philosophical exercise, introduced as the first step in a larger philosophical program. Gill contends that the dialogues leading up to the missing Philosopher, though they reach some substantive conclusions, are philosophical exercises of various sorts designed to train students in dialectic, the philosopher's method; and that a second version of the Parmenides exercise, closely patterned on it, spans parts of the Theaetetus and Sophist and brings the philosopher into view. This is the exercise about being, the subject-matter studied by Plato's philosopher. Plato hides the pieces of the puzzle and its solution in plain sight, forcing his students (and modern readers) to dig out the pieces and reconstruct the project. Gill reveals how, in finding the philosopher through the exercise, the student becomes a philosopher by mastering his methods. She shows that the target of Plato's exercise is internally related to its pedagogical purpose. (shrink)

"Charming, interesting, thought-provoking and a great read." Rosalind Hursthouse The daughter of a pacifist rector who answered "No!" when his congregation asked him "Is everything in the bible true?", perhaps Mary Midgley was destined to become a philosopher. Yet few would have thought this inquisitive, untidy, nature-loving child would become "one of the sharpest critical pens in the west." This is her remarkable story. Probably the only philosopher to have been in Vienna on the eve of its invasion by Nazi (...) Germany in 1938 and dance in Trafalgar Square on VE day seven year later, she studied philosophy at Oxford in the same year as Iris Murdoch, Elizabeth Anscombe and Philippa Foot, all of whom became close friends. Midgley tells us in vivid and humorous fashion how they cut a swathe through the arid landscape of 1950s British philosophy, writing and arguing - often with each other - about the grand themes of character, beauty and the meaning of rudeness while the spectral figure of Ludwig Wittgenstein hovered in the background. She also charts the highs and lows of philosophy and academia in Britain. On joining the Reading philosophy department on £400 a year in 1949, she doubled its staff complement. But her many years at Newcastle University - where Mike Brearley, who later captained England at cricket, also used to teach - were rewarded with the closure of the philosophy department in the 1980s. The mother of three children, her journey is also one of a woman who in the 1950s and 1960s was fighting to combine a professional career with raising a family. In startling contrast to many of the academic stars of her generation, we learn that Midgley nearly became a novelist and started writing philosophy only when in her fifties, suggesting that Minerva's owl really does fly at dusk. Plainly told like her philosophy, this is an elegiac and moving account of friendships found and lost, bitter philosophical battles and of a profound love of teaching all too rarely acknowledged today. (shrink)

This paper criticizes Langton's speech act account of MacKinnon's claim about (the subordinating force of) pornography and offers a different account of how speech might enact harmful norms and thus constitute harm.

Rae Langton and Jennifer Hornsby argue that there may be a free-speech argument against pornography, if pornographic speech has the power to illocutionarily silence women: women's locution ‘No!’ that aims to refuse unwanted sex may misfire because pornography creates communicative conditions where the locution does not count as a refusal. Central to this is the view that women's speech lacks uptake, which is necessary for illocutionary acts like that of refusal. Alexander Bird has critiqued this view by arguing that uptake (...) is not necessary for the illocutionary act of refusal. The Hornsby-Langton view, then, is philosophically indefensible. Here I defend the philosophical cogency of the Hornsby-Langton approach. (shrink)

The unity of aesthetic and teleological judgment, the third and earlier Critiques, is based on Kant′s discovery of a “heuristic method” for applying judgments regarding sense phenomena to abstract thought, a “second attention” which enables an “idea of the whole”. Synthetic judgment, basis for cognition and human action, depends on efficacy of non-empirical insights: the transcendental standpoint, “regulative” ideas, consciousness of “ought” and the reality of freedom, universality of natural mechanism, the principle of “fortuitous” purposiveness. The activity of reflective judgment (...) in the encounter with the beautiful, sublime, living, and two paradigmatic types of explanation, inspired by Spinoza′s distinction of extensio and cogitatio, permit Kant to bridge the gap between freedom and necessity, theoretical knowledge and morality. (shrink)

It is 2048 BE; the Anonyma Network, represented by a young philosopher known affectionately as Annie, offers this fiftieth anniversary edition of Mary Daly's revolutionary work of Radical Elemental Feminism, Quintessence ... Realizing the Archaic Future. Mary Daly has, for the past thirty years, been at the forefront of radical feminist thinking. Here she exposes and examines the abuses women face at the end of the twentieth century - for example, the dangerous rhetoric of the Promise Keepers; the systematic rape (...) of women in war zones like Bosnia; and the invasive manipulation of women's bodies and all of nature in genetic engineering, fertility experiments, and cloning. But she also offers a "Far-Out Vision and Hope for Wonderlusting Women" who are beginning to discover Quintessence: Spirit that fills the universe and gives it life and vitality. (shrink)

Science as Salvation discusses the high spiritual ambitions which tend to gather round the notion of science. Officially, science claims only the modest function of establishing facts. Yet people still hope for something much grander from it--namely, the myths by which to shape and support life in an increasingly confusing age. Our faith in science is abused by some scientists whose adolescent fantasies have spilled over into their professional lives. Salvation, immortality, mastery of the universe, humans without bodies, and intelligent (...) self-reproducing computers are just some of the notions and speculations that are now found--not on the pages of science fiction--but on the pages of science itself. The danger is that these concepts are given to a myth-hungry public who turn to science now that religion has lost its ability to create myth. Science as Salvation discusses the function and meaning of such fantasies. Midgley examines the need for and the use of myth in science, and how science and religion are related. She argues that we need to develop a realistic understanding of scientific imagination and its importance. Taking them seriously as symptoms of a genuine myth-hunger, it suggests that the proper function of science may need to include wider perspectives, which would make it plain that such desperate, compensatory dramas are unnecessary. (shrink)

A leader in the modern commentary on ethics and philosophy, Mary Warnock casts a critical eye over her life and times.

How does Plato view his philosophical antecedents? Plato and his Predecessors considers how Plato represents his philosophical predecessors in a late quartet of dialogues: the Theaetetus, the Sophist, the Politicus and the Philebus. Why is it that the sophist Protagoras, or the monist Parmenides, or the advocate of flux, Heraclitus, are so important in these dialogues? And why are they represented as such shadowy figures, barely present at their own refutations? The explanation, the author argues, is a complex one involving (...) both the reflective relation between Plato's dramatic technique and his philosophical purposes, and the very nature of his late philosophical views. For in these encounters with his predecessors we see Plato develop a new account of the principles of reason, against those who would deny them, and forge a fresh view of the best life - the life of the philosopher. (shrink)

In this book, Mary Midgely turns a spotlight on the fashionable view that we no longer need or use moral judgements. She shows how the question of whether or not we can make moral judgements must inevitably affect our attitudes to the law and its institutions, but also to events that occur in our daily lives.

Introduction: Wonder and the births of philosophy -- Socrates' small difficulty -- The wound of wonder -- The death and resurrection of Thaumazein -- The Thales dilemma -- Repetition : Martin Heidegger -- Metaphysics small difficulty -- Wonder and the first beginning -- Wonder and the other beginning -- Theaetetus redux : the ghost of the Pseudes Doxa -- Once again to the cave -- Rethinking Thaumazein -- Openness : Emmanuel Levinas -- Passivity and responsibility -- The ethics of the (...) cave -- Infinity and astonishment -- Opening out : from existent to existence -- Closing down : from existence to existent -- Locking up : totality and infinity -- The phantom of the autrement -- Awakening -- Relation : Jean-Luc Nancy -- The problem of Mitsein -- Mitsein as essential inessentiality -- The myth of essentialism -- Unworking -- Interruption -- Repetition -- Decision : Jacques Derrida -- Thaumazein, the irresponsible, and the undecidable -- Hospitality -- Undecidability revisited -- Much madness is divinest sense (or, who comes after the decision?) -- How to avoid the subject (or, that's not my hedgehog!) -- Undecidability, take three : think here of Kierkegaard -- Mysterium tremendum -- Postlude: Possibility. (shrink)

This selection consists of extracts from writings of women concerned solely with the pursuit of abstract ideas, historically contextualized. The texts, for the most part, reflect issues widely debated in their contemporary societies. Extracts from lesser-known writers are also included, providing a diversity of arguments spanning four centuries and including some notable contemporary philosophers.

_Strange Wonder_ confronts Western philosophy's ambivalent relationship to the Platonic "wonder" that reveals the strangeness of the everyday. On the one hand, this wonder is said to be the origin of all philosophy. On the other hand, it is associated with a kind of ignorance that ought to be extinguished as swiftly as possible. By endeavoring to resolve wonder's indeterminacy into certainty and calculability, philosophy paradoxically secures itself at the expense of its own condition of possibility. _Strange Wonder_ locates a (...) reopening of wonder's primordial uncertainty in the work of Martin Heidegger, for whom wonder is first experienced as the shock at the groundlessness of things and then as an astonishment that things nevertheless _are_. Mary-Jane Rubenstein traces this double movement through the thought of Emmanuel Levinas, Jean-Luc Nancy, and Jacques Derrida, ultimately thematizing wonder as the awesome, awful opening that exposes thinking to devastation as well as transformation. Rubenstein's study shows that wonder reveals the extraordinary in and through the ordinary, and is therefore crucial to the task of reimagining political, religious, and ethical terrain. (shrink)

_Strange Wonder_ confronts Western philosophy's ambivalent relationship to the Platonic "wonder" that reveals the strangeness of the everyday. On the one hand, this wonder is said to be the origin of all philosophy. On the other hand, it is associated with a kind of ignorance that ought to be extinguished as swiftly as possible. By endeavoring to resolve wonder's indeterminacy into certainty and calculability, philosophy paradoxically secures itself at the expense of its own condition of possibility. _Strange Wonder_ locates a (...) reopening of wonder's primordial uncertainty in the work of Martin Heidegger, for whom wonder is first experienced as the shock at the groundlessness of things and then as an astonishment that things nevertheless _are_. Mary-Jane Rubenstein traces this double movement through the thought of Emmanuel Levinas, Jean-Luc Nancy, and Jacques Derrida, ultimately thematizing wonder as the awesome, awful opening that exposes thinking to devastation as well as transformation. Rubenstein's study shows that wonder reveals the extraordinary in and through the ordinary, and is therefore crucial to the task of reimagining political, religious, and ethical terrain. (shrink)

Hans Jonas bénéficie de la reconnaissance de ses pairs comme de la notoriété auprès d'un large public. L'auteur du " Principe responsabilité " est aussi un spécialiste de la religion gnostique, un philosophe de la vie analysant la dynamique de l'organisme et de l'esprit. La notion de liberté est un fil conducteur herméneutique pour exposer une pensée éclectique mais unitaire et originale.

Explores the teaching and learning of issues relating to the impact of science in society. This title offers practical guidance in devising learning goals and suitable learning and assessment strategies. It helps teachers to provide students with the skills and understanding needed to address these multi-faceted issues.

Should we feel inadequate when we fail to be healthy, balanced, and well-adjusted? Is it realistic or even desirable to strive for such an existential equilibrium? Condemning our current cultural obsession with cheerfulness and "positive thinking," Mari Ruti calls for a resurrection of character that honors our more eccentric frequencies and argues that sometimes a tormented and anxiety-ridden life can also be rewarding. Ruti critiques the search for personal meaning and pragmatic attempts to normalize human beings' unruly and idiosyncratic natures. (...) Exposing the tragic banality of a happy life commonly lived, she instead emphasizes the advantages of a lopsided life rich in passion and fortitude. She also shows what matters is not our ability to evade existential uncertainty but our courage to meet adversity in such a way that we do not become irrevocably broken. We are in danger of losing the capacity to cope with complexity, ambiguity, melancholia, disorientation, and disappointment, Ruti warns, leaving us feeling less "real" and less connected and unable to process a full range of emotions. Heeding the call of our character means acknowledging the marginalized, chaotic aspects of our being, and it is precisely these creative qualities that make us inimitable and irreplaceable. (shrink)

In The Ethical Primate , Mary Midgley, 'one of the sharpest critical pens in the West' according to the Times Literary Supplement , addresses the fundamental question of human freedom. Scientists and philosophers have found it difficult to understand how each human-being can be a living part of the natural world and still be free. Midgley explores their responses to this seeming paradox and argues that our evolutionary origin explains both why and how human freedom and morality have come about.