Розкрито сутність поняття «рейтинг». Доведено значущість рейтингової оцінки для суб’єктів фінансового ринку, зокрема для страхових компаній, потенційних страхувальників, інвесторів та кредиторів.

This book offers a critical introduction to the work of American philosopher D. G. Leahy (1937-2014). Leahy's fundamental thinking can be characterized as an absolute creativity in which all creating is 'live' -- a happening occurring now that manifests a supersaturated polyontological actuality that is essentially created by the logic that characterizes it. Leahy leaves behind the categorial presuppositions of modern thought, eclipsing both Cartesian and Hegelian subjectivities and introducing instead an essentially new form of thinking founded in a nondual (...) logic of creation. The new thinking delineates the absolute unicity of existence as a creative interactivity beyond all traditional dichotomies (such as one vs. many, unity vs. plurality, identity vs. change): a fully "digitized" actuality that is nothing but newness, which inherently implies nothing but change. Through this new form of thinking, change itself is revealed to be the very essence of reality and mind. Any reader looking for a quantum leap beyond the thrall of modern and postmodern fixations is invited to hear and apprehend this new thinking that refuses to be conditioned by paradigms, categories, species, genera, walls, bridges, boundaries, or abstractions: an essentially free thinking that embodies creative novelty itself. (shrink)

Political liberals ask citizens not to appeal to certain considerations, including religious and philosophical convictions, in political deliberation. We argue that political liberals must include a demanding requirement of intellectual modesty in their ideal of citizenship in order to motivate this deliberative restraint. The requirement calls on each citizen to believe that the best reasoners disagree about the considerations that she is barred from appealing to. Along the way, we clarify how requirements of intellectual modesty relate to moral reasons for (...) deliberative restraint. And we argue against attempts to weaken our requirement of intellectual modesty by emphasizing those moral reasons. (shrink)

Locke is the first English philosopher to be considered in this series, and that fact of itself is worthy of attention. Philosophy, of course, like science, knows no frontiers and no national boundaries. Yet it is true to say that Locke’s contribution to philosophy is typically and peculiarly English. His moderation, his emphasis upon experience, his tolerant spirit of compromise, his dislike of mystical extravagance and of metaphysical speculation, even that elusive quality of his which people call his “common sense”, (...) are English traits. His very defects, illogicality leading to inconsistency and an awkward disorderliness of thought so abhorrent to the. (shrink)

The Nature of God explores a perennial problem in the philosophy of religion.

Professor R. J. Getty has drawn attention to a tenth- or early eleventh-century manuscript of Statius’ Thebaid, hitherto examined only in Book I, namely Turonensis. Dr. Klotz, in his Teubner edition of 1908, gave citations from Book I, and wrote, ‘dolendum est sane de hoc codice primum tantum librum innotuisse, sed cum Roffensis libri maxime affinis accuratiorem notitiam haberemus, collatione quamvis -aegre careri posse nobis visum est.’ I have collated both T and Roffensis in full, and find firstly that the (...) citations of r by Klotz are far from accurate, especially in the last six books, and secondly that while it is indeed true thatT and r are very closely related, T is a much better representative than r of their common source. (shrink)

While it might seem prima facie plausible that divine foreknowledge is all that is needed for prophecy, this seems incorrect. To issue a prophecy, God hasto know not just how someone will act, but how someone would act were the prophecy issued. This makes some think that Middle Knowledge is required.I argue that Thomas Flint’s two Middle Knowledge based accounts of prophecy are unsatisfactory, but one of them can be repaired. However the resources needed for repair also yield a sketch (...) of a foreknowledge-only account of prophecy. (shrink)

The first Philosophers -- Plato -- Aristotle -- Augustine -- Thomas Aquinas -- Rene Descartes -- John Locke -- David Hume -- Immanuel Kant -- Karl Marx -- Soren Kierkegaard -- Fredrich Nietzsche -- Jean-Paul Sartre -- Darwin and Freud.

The list of Italian forces1 with which Virgil concluded Aeneid 7 was a piece of the ‘machinery’ of epic, that is to say an expected part of the content of an epic poem, established by Homer and expected of his successors; cf. Apollonius 1. 20–228, Silius 3. 222 f., Statius, Th. 4. 32 f., Milton, P.L. 1. 376 f. The straightforward enumeration of Homer was naturally appropriate in the Iliad both because oral technique sought this kind of directness and because (...) of the immediate relationship of the subject-matter to a heroic community. But Virgil was well aware that the Homeric manner would not fit satisfactorily into the sophisticated and elaborate structure of literary and contemplative epic. Two essential requirements had to be met in the transplanting of such ‘machinery’ into a new milieu. The first was one of function: the piece should blend with the whole intricate pattern of theme and tone which a poem like the Aeneid possesses. The second was one of structure: it must possess within itself artistic symmetries and designs of a carefully organized kind. (shrink)

Of the unusual grammatical constructions which Statius employs for the sake of variety and novel effect, among the most remarkable is his use of the ablative case. There are striking instances at Th. 8. 157, Th. 10. 309, Ach. 1. 219, Ach. 2. 129; and W. C. Summers was led to say: ‘We see some traces in Valerius of the lax use of this case which became almost a disease with Statius, who employs it for almost any kind of idea.’ (...) There are three passages in Statius which have been misinterpreted or emended through the failure to recognize a use of the ablative to which he was especially prone—the local ablative where the poetic dative of ‘motion towards’ would seem more normal. I shall first list examples of this use in Statius where there is little or no doubt about interpretation or reading, and in the light of this accumulated evidence consider the three passages which are disputed. (shrink)

Shortly after his arrival at Carthage, while he is waiting for Dido to meet him, Aeneas finds that the walls of her temple are adorned with pictures of the Trojan War. Sunt hie etiam sua praemia laudi, he cries to Achates, sunt lacrimae rerum et mentem mortalia tangunt. The description of the pictures which follows is a remarkable example of Virgil's ability to use a traditional device in such a way as to strengthen and illuminate the main themes of his (...) poem. It is my object here first to reinterpret one of the scenes which has been misunderstood, and then to discuss how Virgil has chosen and arranged his episodes so that the description of a picture gallery becomes a part of an epic poem. (shrink)

In his note on Hesiod, WD 705 M. L. West tentatively suggests adeo for deo, saying rightly that ‘Charon is not a god in the literary tradition generally or in Virgil's scheme’. Palaeographically nothing could be more attractive than this emendation. But for all Virgil's fondness for adeo he does not use it in this intensifying sense with adjectives other than those indicating number, nor does he ever use it later than the second foot. The difficulty which West is combating (...) is a very real one, but it is not solved by the removal of deo. Virgil's dilemma was that the old ferryman must be as timeless as all the other members of Pluto's establishment, and to achieve this object of portraying an unchanging picture of the machinery of the underworld he has elevated Charon to the rank of dues. In Olympus the gods are frozen at the point suitable for the anthropomorphic vision of them: Cupid is always a boy, Apollo young and handsome, Neptune older and more austere. Similarly Charon is frozen just as he has reached vigorous old age. He may not be, indeed is not, a real god, but he is a necessary part of the world of the gods and so must share their agelessness. (shrink)

The problem of the impact of traditions of romantic literature on Dostoevsky’s novel ‘The Idiot‘ is examined in the article. The author points out that the attitude of Russian novelist towards the phenomena of the outgoing culture was essentially devoid of dogmatism: the very approach to different cultural trends and styles was always notable for amazing flexibility and diversity. A novel by Charles Nodier, ‘Jean Sbogar‘, is considered as one of the precedent texts. Its motivic repertoire is reproduced in full (...) in the novel by F. Dostoevsky. A comparison of the protagonist of the French novel, Jean Sbogar, which is depicted in two masks, with the main characters of the novel ‘The Idiot‘ Prince Myshkin and Rogozhin, suggests that, starting from a given source, Dostoevsky developed Nodier’s art idea. Russian writer abandoned the principle of a split personality in favor of representation of two heroes that are fighting and, at the same time, there is a mystical connection between them. Comparison between Myshkin and angel-like Lothario and between Rogozhin and the rogue Jean Sbogar once again confirms the idea that in Dostoevsky’s novel there is an introduction of high philosophical symbolism in realism: ‘splitting‘ a romantic image sends a thoughtful reader to the Gospel legend about Christ and the robber. Thus, reading of the images of "The Idiot" through the prism of romantic novels of Charles Nodier detects correlation not only between the plot of the novel and literary tradition, but also between the plot and the Christian symbolism. Someone else’s text not only becomes Dostoevsky’s material for improvisation, but also serves as a secret pointer to the reader and reconstructs his cultural memory. (shrink)