In a series of recent papers, Jonathan Schaffer presents a novel framework for understanding grounding. Metaphysical laws play a central role. In addition, Schaffer argues that, contrary to what many have thought, there is no special 'explanatory gap' between consciousness and the physical world. Instead, explanatory gaps are everywhere. I draw out and criticize the methodology for metaphysics implicit in Schaffer's presentation. In addition, I argue that even if we accept Schaffer's picture, there remains a residual explanatory gap between consciousness (...) and the physical. The residual gap does most of the same philosophical work as the original. Schaffer has introduced a troublesome metaphysical methodology that fails to follow through on its biggest promise: to deflate the explanatory gap. (shrink)

Plutarch, in his work,_ Peri __Deisidaimon_ia_ __,_ presents a striking portrayal of superstition in the First Century. The Philosopher who also served for decades as a priest of Apollo portrays the pernicious effects of some supposed religious practices as worse than the outcome of atheism. His position constitutes a forceful explanation to ostensibly controversial socio-religious behaviours. This article discusses some of the priest’s concerns as well as his rebuff of religious attitudes that are borne out of what he describes as (...) misrepresentation of the gods or superstition. Plutarch’s essay is seen as illustrating a reason for a socio-religious situation in Africa, a continent that shares a similar religious background with the world of the writer. Specifically, with the example of the hard fight against street begging in some parts of Nigeria, the article shows how social reform programmes could fail when effects of traditional African beliefs and cultural practices remain potent. __. (shrink)

Philosophy of Tsong-kha-pa Blo-bzang-grags-pa's Lam rim chen mo.

We use a result due to Rolin, Speissegger, and Wilkie to show that definable sets in certain o-minimal structures admit definable parameterizations by mild maps. We then use this parameterization to prove a result on the density of rational points on curves defined by restricted Pfaffian functions.

If we had no idea which parts of Greek literature in a certain period were poetry or prose, we would regard it as our first job to find out. How much of the Greek prose of the Imperial period is rhythmic has excited less attention; and yet the question should greatly affect both our reading of specific texts and our understanding of the whole literary scene. By ‘rhythmic’ prose, this article means only prose that follows the Hellenistic system of rhythm (...) started, it is said, by Hegesias, and adopted by Cicero and by many Latin writers of the Imperial period. Estimates of how much Greek Imperial prose is rhythmic have long varied drastically. Some experts suggest that all or much artistic Greek prose in the period is rhythmic, others that what little there is fades out after the first centurya.d., as part of the victory of Atticism. There has been fairly little substantial work on rhythmic prose in the first three centuriesa.d.for over fifty years. The object of this article is to investigate a large part of one author's work thoroughly, and to establish that that part is rhythmic. It will also aim to show how that conclusion should greatly affect our whole conception of the author as a writer, and our reading of his every sentence. (shrink)

This article has a double purpose: to argue for some specific points on Cicero's rhythm, and to show how the significance of rhythm for literary understanding is larger than has perhaps been perceived. The piece is based on a reading of the whole of Cicero; but it will make only occasional reference to the letters. The question of rhythm in the letters is particularly involved, and it will be best handled elsewhere.

This article has a double purpose: to argue for some specific points on Cicero's rhythm, and to show how the significance of rhythm for literary understanding is larger than has perhaps been perceived. The piece is based on a reading of the whole of Cicero; but it will make only occasional reference to the letters. The question of rhythm in the letters is particularly involved, and it will be best handled elsewhere.