Part way through Stephen Frears’s film, The Queen , the monarch undergoes an extraordinary, magical experience whilstjourneying into the Scottish landscape that surrounds Balmoral, her grandancestral holiday home. Despite the anxious offers from her estate workersto chauffeur her, she drives alone into the mountains and proceeds to breakdown in the centre of a fast flowing river. While awaiting help a strangeevent occurs: a stag appears magically as if from nowhere and, unable tohide her admiration for the beast, the (...) Queen gently utters the words, ‘Oh!You beauty’ before the animal disappears as mysteriously as it arrived.Framed in a painterly way, and providing a marked punctuation to the urbansettings that have dominated the film so far, this short sequence presents aseries of sumptuous landscape images that elicit a spectator response whichis instinctive and intuitive. When analysed using an aesthetic approach – amethodology one might use for the examination of a painting – anemotional relationship is mobilised between the spectator and the film: asentiment not necessarily available through a narrative reading. (shrink)

The Scottish Mental Health Arts and Film Festival has seen hundreds of arts, public and community groups coproduce over 300 events to over 25,000 audience members. Integral to this arts-based approach, in contrast to social marketing or public education models, is the notion that mental health is an essentially contested concept whereby meanings are negotiated and debate encouraged. With emerging evidence that the festival is an ef ective way of engaging people intellectually and emotionally, we explore ethical issues, (...) challenges and paradoxes that have emerged as the festival has developed. Consideration is given to issues of power, purpose, opportunity costs, reach, impact, programming risks, and participation from those with experience of mental ill-health. Throughout, we explore practical implications for funding, managing, programming, marketing and evaluation of this and similar endeavours. (shrink)

In July 1993, the Scottish Highlands Centre for Human Caring sponsored a conference with the title Exploring the Spirituality in Caring. The papers given at the conference and included in this volume are offered as a contribution to the debate that must take place in nursing and in the wider context of health care provision. Ann Bradshaw's paper puts the debate in context arguing that nursing is fundamentally a loving response to the human being created in the image of (...) God. (shrink)

In a number of recent films, Scotland has served as the setting for dramas that could have taken place anywhere. This has occurred in two related ways: First, there are films such as Perfect Sense (2011) and Under the Skin (2013). These films involve storylines that, while they do take place in Scotland, do not require the country as a setting. Second, there are films such as Prometheus (2012),The Dark Knight Rises (2012), Cloud Atlas (2012), and World War Z (2013). (...) These films, while being filmed (at least partly) in Scotland, have plots that do not involve Scotland. Scottish locations, in this second group of movies, act as stand- ins for locations in other cities, or even other worlds. -/- This phenomenon, in which the uniqueness of Scottish locations is deemphasized so that they may act as mere backdrops for the primary action in films, is a relatively new one. It is in sharp contrast to another, more traditional tendency in movie making in which Scottish locations are foregrounded to dramatize myths and stereotypes uniquely Scottish; such as Kailyard, Tartantry or Clydesideism. In this paper I pursue an analysis, drawing on the work of Martin Heidegger, that characterizes this trend as part of a new Scottish myth in the making: the myth of Scotland as nowhere in particular. -/- The myth of Scotland as nowhere in particular takes the countryside and cities of Scotland as raw material for the telling of stories having transcultural interest. In this, Scotland becomes a space or clearing with no particular defining characteristics of its own to distract from the dramas themselves. This allows for the unfolding of narratives that, while they use Scotland as a setting, have little if anything to do with Scotland, and thus appeal to anyone, anywhere. (shrink)

The Scottish economist Adam Smith recommends specialization, but Salvador Dali was not very specialized: he painted, wrote books, acted, sang, and made films. In this paper, I draw attention to a tactical advantage of not specializing for Dali, when faced with various challenges.

Radical skepticism endorses the extreme claim that large swaths of our ordinary beliefs, such as those produced by perception or memory, are irrational. The best arguments for such skepticism are, in their essentials, as familiar as a popular science fiction movie and yet even seasoned epistemologists continue to find them strangely seductive. Moreover, although most contemporary philosophers dismiss radical skepticism, they cannot agree on how best to respond to the challenge it presents. In the tradition of the 18th century (...) class='Hi'>Scottish philosopher, Thomas Reid, Radical Skepticism and Epistemic Intuition joins this discussion by taking up four main tasks. First, it identifies the strongest arguments for radical skepticism, namely, underdetermination arguments, which emphasize the gap between our evidence and our ordinary beliefs based on that evidence. Second, it rejects all inferential or argument-based responses to radical skepticism, which aim to lay out good noncircular reasoning from the evidence on which we base our ordinary beliefs to the conclusion that those beliefs are probably true. Third, it develops a commonsense noninferential response to radical skepticism with two distinctive features: it consciously and extensively relies on epistemic intuitions, which are seemings about epistemic goods, such as knowledge and rationality, and it can be endorsed without difficulty by both internalists and externalists in epistemology. Fourth, and finally, it defends this commonsense epistemic-intuition-based response to radical skepticism against a variety of objections, including those connected with underdetermination worries, epistemic circularity, disagreement problems, experimental philosophy, and concerns about whether it engages skepticism in a sufficiently serious way. (shrink)

A review of Scotland: Global Cinema, by David Martin-Jones.

Dolly is a lamb that was cloned by Dr. Ian Wilmut, a Scottish embryologist. But she is also a Rorschach test. The public response to the production of a lamb by cloning a cultured cell line reflects the futuristic fantasies and Frankenstein fears that have more broadly surrounded research in genetics and especially genetic engineering. Cloning was a term originally applied to a botanical technique of asexual reproduction. But following early experiments in the manipulation of the hereditary and reproductive (...) process during the mid-1960s, the term became associated with human biological engineering. It also became a pervasive theme in horror films and science fiction fantasies. Appearing to promise both amazing new control over nature and terrifying dehumanization, cloning has gripped the popular imagination. (shrink)

This issue ofScience in Contextis dedicated to the question of whether there was a “cinematographic turn” in the sciences around the beginning of the twentieth century. In 1895, the Lumière brothers presented their projection apparatus to the Parisian public for the first time. In 1897, the Scottish medical doctor John McIntyre filmed the movement of a frog's leg; in Vienna, in 1898, Ludwig Braun made film recordings of the contractions of a living dog's heart (cf. Cartwright 1992); in (...) 1904, Lucien Bull filmed in slow motion a bullet entering a soap bubble. In 1907 and 1908, respectively, Max Seddig and Victor Henri recorded Brownian motion with the help of a cinematograph (Curtis 2005). In 1909, the Swiss Julius Ries was one of the first to film fertilization and cell division in sea urchins (Ries 1909). In that same year in Paris, Louise Chevroton and Frédéric Vlès used a film camera to observe cell division in the same object (Chevroton and Vlès 1909). As early as 1898, the Parisian surgeon Eugène-Louis Doyen began filming several of his operations, among them the spectacular separation of the Siamese twins Doodica and Radica (Bonah and Laukötter 2009). And in England, the scientist and zoologist Francis Martin Duncan produced an array of popular-scientific films for Charles Urban: “The unseen world: A series of microscopic studies” was presented to the public in the Alhambra Theatre in London for the first time in 1903 (see Gaycken in this issue). (shrink)

The Scottish Common Sense School of philosophy emerged during the Scottish Enlightenment of the second half of the eighteenth century. The School’s principal proponents were Thomas Reid, James Oswald, James Beattie and Dugald Stewart. They believed that we are all naturally implanted with an array of common sense intuitions and these intuitions are in fact the foundation of truth. Their approach dominated philosophical thought in Great Britain and the United States until the mid nineteenth century. In recent years (...) philosophers have renewed their appreciation of the notion of common sense. In particular, discussions of common sense intuitions are integral to contemporary epistemological foundationalism. Scottish Common Sense Philosophy: Sources and Origins is a 5-volume collection of writings by and about philosophers in the eighteenth-century Scottish Common Sense School. The writings by Thomas Reid and Dugald Stewart are readily available in recent editions and facsimile reprints so this series focuses on less accessible and less well-known items. Oswald’s Appeal appears here in print for the first time in any form since 1772. Volume 2 is the first reset printing of Beattie’s Essay in over 100 years, and is the only edition to contain annotations that trace the major changes that he made to the text. Almost all of the responses in volumes 3 and 4 appear here in print for the first time since their original publication. These include reviews, pamphlets and excerpts from books. Also included is previously unpublished discussion of Beattie’s Essay by Dugald Stewart. The final volume is a bibliography of around 80 Scottish philosophers from the early eighteenth century to the close of the nineteenth century. Unlike the 1932 bibliography of Scottish philosophers offered by T. E. Jessop, which selectively presents only the philosophical writings by the various Scottish philosophers, this volume attempts to catalogue all of the writings by these philosophers in all of their editions. (shrink)

This new history of Scottish philosophy will include two volumes that focus on the Scottish Enlightenment. In this volume a team of leading experts explore the ideas, intellectual context, and influence of Hutcheson, Hume, Smith, Reid, and many other thinkers, frame old issues in fresh ways, and introduce new topics and questions into debates about the philosophy of this remarkable period. The contributors explore the distinctively Scottish context of this philosophical flourishing, and juxtapose the work of canonical (...) philosophers with contemporaries now very seldom read. The outcome is a broadening-out, and a filling-in of the detail, of the picture of the philosophical scene of Scotland in the eighteenth century. (shrink)

This new history of Scottish philosophy will include two volumes that focus on the Scottish Enlightenment. In this volume a team of leading experts explore the ideas, intellectual context, and influence of Hutcheson, Hume, Smith, Reid, and many other thinkers, frame old issues in fresh ways, and introduce new topics and questions into debates about the philosophy of this remarkable period. The contributors explore the distinctively Scottish context of this philosophical flourishing, and juxtapose the work of canonical (...) philosophers with contemporaries now very seldom read. The outcome is a broadening-out, and a filling-in of the detail, of the picture of the philosophical scene of Scotland in the eighteenth century. (shrink)

A History of Scottish Philosophy is a series of collaborative studies by expert authors, each volume being devoted to a specific period. Together they provide a comprehensive account of the Scottish philosophical tradition, from the centuries that laid the foundation of the remarkable burst of intellectual fertility known as the Scottish Enlightenment, through the Victorian age and beyond, when it continued to exercise powerful intellectual influence at home and abroad. The books aim to be historically informative, while (...) at the same time serving to renew philosophical interest in the problems with which the Scottish philosophers grappled and in the solutions they proposed. This is a companion volume to Scottish Philosophy in the Eighteenth Century, Volume I. Where Volume I covered Scottish Enlightenment contributions to morals, politics, art, and religion, this second volume covers philosophical method, metaphysics, and the philosophy of mind. It includes a comprehensive account of the teaching of philosophy in Scottish universities in the eighteenth century. Particular attention is given to Scottish achievements in the science of the mind in chapters on perception, the intellectual powers, the active powers, habit and the association of ideas, and language. (shrink)

This work attempts to show that the Scottish common sense philosophers Thomas Reid, James Oswald and James Beattie, had a substantial influence upon the development of German thought during the period of the late enlightenment. Their works were thoroughly reviewed in German philosophical journals and translated into German soon after they had appeared in English. Whether it was Mendelssohn, a rationalist, Lossius, a materialist, Feder, a sensationalist, Tetens, a critical empiricist, or Hamann and Jacobi, irrationalist philosophers of faith, important (...) philosophers read the Scots and found them relevant for the solution of their problems. The Scots were seen as not just opposing Hume's skepticism, but also as complementing his more positive tenets. The most important chapter of this work shows that even Kant, who in this regard is known only for his devastating criticism of the Scots, learned much from them. It is argued that the Scottish influence opens a new perspective for the understanding of the German enlightenment, revealing how central were the twin problems of idealism versus realism, on the one hand, and of philosophical justification versus mere descriptive metaphysics, on the other. (shrink)

: In today’s political philosophy framework, it is commonplace to associate Adam Smith with akind of theory that ignores human dispositions and considers only the self-interested perspective ofindividuals. Although this view has been widely supported in different fields – viz Philosophy andEconomy, we consider this a biased interpretation. Using the Cambridge School orientation, we explainthe importance of historical background in reading Smith’s work to argue that Smith’s writings should beinterpreted within the Scottish Enlightenment context. From this contextual approach, it (...) is possible tosustain an integrated reading of Smith’s books The Theory of Moral Sentiments (TMS) and An Inquiryinto the Nature and Cause of the Wealth of Nations (WN). This reading leads to a more faithfulinterpretation of Smith’s idea that the agent in society is morally engaged in socio-economic relations.Once this hypothesis is confirmed, we will defend a systematic analysis of Smith’s philosophy arguingthat Smith’s philosophy is a holistic system, in what we call a tripartite theory. (shrink)

The Scottish Enlightenment shaped a new conception of history as a gradual and universal progress from savagery to civil society. Whereas women emancipated themselves from the yoke of male-masters, men in turn acquired polite manners and became civilized. Such a conception, however, presents problematic questions: why were the Americans still savage? Why was it that the Europeans only had completed all the stages of the historic process? Could modern societies escape the destiny of earlier empires and avoid decadence? Was (...) there a limit beyond which women's influence might result in dehumanization? The Scottish Enlightenment's legacy for modernity emerges here as a two-faced Janus, an unresolved tension between universalism and hierarchy, progress and the limits of progress. (shrink)

One of the great attractions of Thomas Reid's account of knowledge is that he attempted to avoid the alternative between skepticism and dogmatism. This attempt, however, faces serious problems. It is argued here that there is a pragmatist way out of the problems, and that there are even hints to this solution in Reid's writings.

Explicitly utopian novels are relatively uncommon in twentieth-century Scottish fiction, perhaps due to a prevailing conception of Scottish literature as inherently peripheral; for many critics and authors, Scotland is already a place outside the mainstream of political and historical narrative. Utopian themes and imagery, however, have frequently been used by Scottish writers to address the role of religious experience in contemporary life. In novels by Robin Jenkins, Neil M. Gunn, Alasdair Gray, and Iain M. Banks, the utopian (...) form presents the possibility of abandoning traditional religious practices in favor of direct discourse with the divine. Even as they appear to repudiate organized religion, these novels also demonstrate the continued relevance of God and myth. Whether in outright science fiction such as Banks’s Culture series and portions of Gray’s “Lanark,” classical utopias such as Gunn’s “The Green Isle of the Great Deep,” or ostensibly realist novels such as Jenkins’s “The Missionaries,” utopian imagery is used to examine what role the divine might have in a secular society. These Scottish utopias offer a place to discuss the relationships between individuals, communities, and nations and how these relationships are reconstituted in a modernity where God is known only as absence. (shrink)

By founding morality on the particular sentiments of approbation and disapprobation, Shaftesbury, Hutcheson, Hume, and Smith implied that the nature of moral judgment was far more intuitive and accessible than their rationalist predecessors and contemporaries would, or at least easily could, allow. And yet, these ‘Sentimentalists’ faced the longstanding belief that the human affective psyche is a veritable labyrinth – an obstacle to practical morality if not something literally brutish in us. The Scottish Sentimentalists thus implicitly tasked themselves with (...) distinguishing and locating the particular sentiments of approbation and disapprobation in the human psyche. In this paper, I argue that this task led Shaftesbury, Hutcheson, Hume, and Smith to adopt a remarkable thesis when it came to the nature of the moral sentiments, namely, that the sentiments of moral approbation and disapprobation are peculiar – somehow radically unlike other sentiments. (shrink)

This book is a lively and provoking introduction to film theory.

Philosophy was at the core of the eighteenth century movement known as the Scottish Enlightenment. The movement included major figures, such as Francis Hutcheson, David Hume, Adam Smith, Thomas Reid and Adam Ferguson, and also many others who produced notable works, such as Gershom Carmichael, George Turnbull, George Campbell, James Beattie, Alexander Gerard, Henry Home (Lord Kames) and Dugald Stewart. I discuss some of the leading ideas of these thinkers, though paying less attention than I otherwise would to Hume, (...) Smith and Reid, who have separate Encyclopedia entries. Amongst the topics covered in this entry are aesthetics (particularly Hutcheson's), Moral philosophy (particularly Hutcheson's and Smith's), Turnbull's providential naturalism, Kames's doctrines on divine goodness and human freedom, Campbell's criticism of the Humean account of miracles, the philosophy of rhetoric, Ferguson's criticism of the idea of a state of nature, and finally the concept of conjectural history, a concept especially associated with Dugald Stewart. (shrink)

David Hume, Adam Smith, William Robertson, Adam Ferguson, Lord Kames, John Millar, James Dunbar and Gilbert Stuart were at the heart of Scottish Enlightenment thought. This introductory survey offers the student a clear, accessible interpretation and synthesis of the social thought of these historically significant thinkers. Organised thematically, it takes the student through their accounts of social institutions, their critique of individualism, their methodology, their views of progress and of moral and cultural values. By taking human sociality as their (...) premise, the book shows how they produced important analyses of historical change, politics and morality, together with an assessment of their own commercial society. (shrink)

Scottish philosophy of the seventeenth century was an important part of a wider European philosophical discourse. After situating such thought in its political and religious contexts, the contributors to this volume investigate the writings of a variety of Scottish thinkers in the areas of logic, metaphysics, politics, ethics, law, and religion.

A History of Scottish Philosophy is a series of collaborative studies by expert authors, each volume being devoted to a specific period. Together they provide a comprehensive account of the Scottish philosophical tradition, from the centuries that laid the foundation of the remarkable burst of intellectual fertility known as the Scottish Enlightenment, through the Victorian age and beyond, when it continued to exercise powerful intellectual influence at home and abroad. The books aim to be historically informative, while (...) at the same time serving to renew philosophical interest in the problems with which the Scottish philosophers grappled and in the solutions they proposed. -/- This is a companion volume to Scottish Philosophy in the Eighteenth Century, Volume I. Where Volume I covered Scottish Enlightenment contributions to morals, politics, art, and religion, this second volume covers philosophical method, metaphysics, and the philosophy of mind. It includes a comprehensive account of the teaching of philosophy in Scottish universities in the eighteenth century. Particular attention is given to Scottish achievements in the science of the mind in chapters on perception, the intellectual powers, the active powers, habit and the association of ideas, and language. (shrink)

CHAPTER Introduction I do not take lightly the title of this book. I believe that Scottish philosophy matters greatly and my principal aim is to say why it ...

This volume of new essays energizes a growing movement in film theory which questions and seeks to overturn many of the assumptions that have governed film theory for the last twenty years. The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.

John Oswald was a Scottish journalist and pamphleteer who gained fame in the 1790s for his scandalous lifestyle and democratic political views. He was considered by his British contemporaries as the incarnation of the crimes of Jacobinism. This article seeks to reassess Oswald’s place in the history of political thought by placing him within the context of his own Scottish background. Oswald’s radical views were neither directly inspired by his French revolutionary friends, nor typical of the English and (...) Scottish radical scenes. Rather, Oswald is better understood as a paradoxical heir to a mixed Scottish tradition of civic virtue and historical analysis of commercial society. (shrink)

Resumen Los filósofos sentimentalistas escoceses David Hume y Adam Smith proponen dos estrategias distintas para restringir las tendencias egoístas de la naturaleza humana. A pesar de las evidentes similitudes de sus propuestas morales, Smith encuentra dentro del ser humano la capacidad para transformar sus pasiones parciales y aspirar hacia ideales de perfección. El sentimentalismo de Hume, en cambio, no permite la autotransformación de la persona, y debe apoyarse en convenciones sociales para manipular y redirigir los impulsos egoístas desde fuera. Ambos (...) logran su objetivo. Pero mientras Hume se conforma con una moral funcional para la vida social, Smith abre una nueva dimensión de desarrollo para el ser humano.The Scottish sentimentalist philosophers David Hume and Adam Smith suggest different strategies for restricting and accommodating human selfish tendencies. In spite of the obvious similarities of their moral proposals, Smith finds within the human being the capacity to transform his partial passions and to aspire to ideals of perfection. In contrast, Hume's sentimentalism does not allow for self-transformation, and must rely on social conventions to manipulate and redirect selfish impulses from without. Both attempts achieve their goal. However, while for Hume peaceful social interaction seems to be the only aim of morality; for Smith morality also opens a new dimension of development for the human being. (shrink)

James McCosh, the Scottish philosopher, graduated from the University of Glasgow, spent some time as a minister in the Church of Scotland but then returned to philosophy and spent most of his career at Princeton University. The eighteenth-century Scottish Enlightenment had many influential philosophers at its core. In this book, first published in 1875, McCosh outlines the theories of eighteenth- and nineteenth-century philosophers and identifies Scottish philosophy as a distinct school of thought. He summarises both the merits (...) and the possible criticisms of each philosopher's work and also gives detailed biographical information. Among the philosophers discussed are the influential David Hume, Thomas Reid and Adam Smith. The final chapter focuses on Sir William Hamilton, a philosopher who greatly influenced McCosh. (shrink)

This book addresses a very real gap in existing introductory texts that define, explore, and apply key theoretical concepts within the field of film studies.' Alison L. McKee, Assistant Professor, Department of Television-Radio-Film-Theatre, San Jose State University, USA 'This is the book that film students have long been waiting for: a clear, well-written and accessible introduction to film theory. Lucid theoretical exposition and case study film analysis offer readers the most intelligible summary of theory that (...) I have yet encountered.' Paul Sutton, Head of Media, Culture and Language, Roehampton University Film theory has a reputation for being difficult. It is challenging, it takes time and it can frequently leave students feeling inadequate and frustrated. Furthermore, theory can often seem intimidating and oldfashioned and therefore it can be difficult to appreciate its modern-day relevance. Understanding Film Theory aims to disassociate theory from these negative connotations and bring a fresh, modern and accessible approach to the discipline. Each of the fifteen chapters provides an insight into the main areas of debate by introducing key ideas and thinkers. Taking the application of theory as its central theme, the book incorporates a number of exciting and innovative features: 'Reflect and Respond' sections encourage readers to engage critically with theoretical concepts, while seminal texts are concisely summarized without oversimplifying key points. Throughout the book the authors illustrate why theory is important and demonstrate how it can be applied in a meaningful way, with relevant case studies drawn from both classic and contemporary cinema including: Once Upon a Time in the West (1968), Run Lola Run (1998), Moulin Rouge! (2001), Rabbit-Proof Fence (2002), Old Boy (2003), Brokeback Mountain (2005), Mamma Mia! (2008) and Avatar (2009). Additional case studies address key genres ('swashbucklers' and the film musical), film movements (Dogme 95), individual actors (Christian Bale, Judi Dench and Amitabh Bachchan) and directors (Alfred Hitchcock and Guillermo del Toro). Understanding Film Theory is an accessible and comprehensive introduction to film theory. It is the ideal entry point for any student studying film, using clear definitions and explaining complex ideas succinctly. Christine Etherington-Wright is a Senior Lecturer in Film Studies at University of Portsmouth (UK) where she teaches a course on Film Theory. She is the author of Gender, Professions, Discourse (Palgrave, 2008). Ruth Doughty is a Senior Lecturer in Film Studies at University of Portsmouth (UK). She is one of the co-founding editors of the journal Transnational Cinemas and co-edited Sound and Music in Film and Visual Media (2008). (shrink)

Historians of science have long been intrigued by the impact of disparate cultural styles on the science of a given country and time period. Richard Olson’s book is a case study in the interaction between philosophy and science as well as an examination of a particular scientific movement. The author investigates the methodological arguments of the Common Sense philosophers Thomas Reid, Dugald Stewart, Thomas Brown, and William Hamilton and the possible transmission of their ideas to scientists from John Playfair to (...) James Clerk Maxwell. His findings point out the need for modifications to the Duhem-Poincaré interpretation of British scientific style and the reassessment of the extent of Kantian influence on British physics. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)