On the basis of psychological research, a group of philosophers known as 'situationists' argue that the evidence belies the existence of broad and stable (or 'global') character traits. They argue that this condemns as psychologically unrealistic those traditions in moral theory in which global virtues are upheld as ideals. After a survey of the debate to date, this article argues that the thesis of situationism is ill-supported by the available evidence. Situationists overlook the explanatory potential of a large class of (...) global character traits, namely, vices that do not involve other-directed malevolence, such as laziness, cowardice, and selfishness. A detailed discussion of the relevant empirical studies bearing on moral psychology shows that the behavioral patterns observed in these studies are consistent with the widespread possession of such non-malicious vices. This means, contrary to the situationist thesis, that the empirical record is fully compatible with the common existence of global character traits. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.4 (2000) 635-655 [Access article in PDF] The Mystery of Truth: Louis-Claude de Saint-Martin's Enlightened Mysticism David Bates "... what truth! and what error!" --Goethe on Saint-Martin 1It is hardly surprising that Louis-Claude de Saint-Martin (1743-1803), the philosophe inconnu of late Enlightenment Europe, remains almost completely unknown outside of the marginalized and exotic disciplines of esoterism, theosophy, and mysticism. Although influential in certain (...) circles, Saint-Martin failed to penetrate the mainstream of Enlightenment thought, and what influence he did have in philosophy was largely felt outside of this period altogether, revealing itself in figures such as Maistre, 2 Lamartine, 3 and German Romantics like Franz von Baader. 4 In his own lifetime Saint-Martin was met with incredulity by the forces of rationalism. Voltaire was given a copy of Saint-Martin's 1775 text Des erreurs et de la vérité by a friend of d'Alembert. Voltaire later commented to the mathematician, "I don't believe anyone has ever printed anything more absurd, [End Page 635] more obscure, more crazy, and more stupid." 5 In the Tableau de Paris, Mercier described Saint-Martin and his martinist followers as a sect which turned its back on the paths opened up by sound physics, chemistry, and all natural history in order "to run headlong into an invisible world only they perceived." Saint-Martin taught that the objects we see around us are only "fantastic and deceptive images" and that the truth lies precisely where we cannot see it, Mercier explained. "Physical experiences," the cornerstone of the dominant sensationalist doctrine, were for the martinists only "errors," an "eternal source of folly and deception," wrote Mercier. 6 One review of Saint-Martin's works described their effect as analogous to that of a "pyramid covered in hieroglyphs, erected by an unknown man in a public square," in other words, completely mystifying. 7 The revolutionary Barnave would link martinism with all the other "metaphysical follies," which were, he believed, the result of an overly speculative tendency in eighteenth-century thought. 8For his part Saint-Martin rejected what he considered to be the anti-spiritual tendency of Enlightenment thought. Responding (as a mature student) to the professor Garat, one of the idéologue followers of Condillac, at the École normale in 1795, Saint-Martin wrote: I always admire how you protect youself from materialism by endorsing... the teachings of Condillac. Although I read little, I have just gone through (very quickly, it is true) his Essai sur les origines des connaissances humaines and his Traité des sensations. Whether I have poorly grasped it, or I haven't your secret, I have come across almost no passages which do not repel me; and, I can say, have not encountered one which attracts me. His statue, for example... seems to be a mockery of nature... For me, each of the author's ideas appears to be an attack against man, a veritable homicide. 9Mystic thought, it seems, must oppose Enlightenment. At best, mysticism during the period of Enlightenment will be seen as its "underside" 10 or as the [End Page 636] preparation for coming anti-Enlightenment Romantic doctrines. 11 Indeed, the end of the Enlightenment in France saw a marked interest in esoteric thought and a mystic sensibility. 12 However, the attempt to link mysticism and Enlightenment has almost always been a critical attempt to discover the "superstitious" core of eighteenth-century rationalist thought. In this perspective the study of mystic thought in its own terms can only have antiquarian value, for the mystic approach to truth is, it is claimed, always in the form of a secret, revealed knowledge that can never withstand disciplined analysis. Saint-Martin finds his way into history as either a footnote in large books on Romantic thinking, or as the protaganist in largely incomprehensible ones examining esoteric thought. 13Here, I do not want to claim that Saint-Martin should be "included" in the Enlightenment, but a sympathetic reading of this complex... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.4 (2000) 577-593 [Access article in PDF] Machina Ex Deo: William Harvey and the Meaning of Instrument Don Bates Introduction Since our clocks do consistently disclose each hour of the day and night--do they not seem to partake of another body (beyond the elements), and that more divine? But if, under the dominion and management of [our human] Art, such splendid things are (...) daily achieved beyond the powers of the objects themselves,... And if, in serving men they carry out such things as are to be marvelled at, what I ask, may we expect from them when they be instruments in the hand of God? These words come near the end of William Harvey's De generatione animalium. 1 As he does often in this work, he is arguing that it is possible for a material object to behave supra vires elementorum, i.e., in a manner that exceeds what can be explained merely from the qualities of the elements from which it is made. In fact, just before this, he argues that human craftsmanship enables the elements of air and water to make ships sail in opposite directions, fire to do one sort of thing in the kitchen, another in the shops of metal-workers, including the production of iron, which in its turn peacefully tills the soil or besieges the town in war. So if even human Art is capable of making something as wonderful as a clock out of the elements, how much more might God be able to do with them? [End Page 577]Not only is it entirely conceivable that the (divinely) artful manipulation of these same elements can account for the wonders of God's nature--such as the generation of a chick out of an egg--there is also no need to infer the existence of additional entities such as faculties, qualities, agents, and the like. All that is needed is the concept of "instrument." Today such things as his appeal to a clock, his reference to "art," and the word "instrument" itself, are liable to arouse in our minds a fairly mechanical sort of image. Therefore, we need to put this idea in its intellectual context, by looking at where Harvey's notion of instrument is coming from.First, our much more mechanical world view was just coming into being as Harvey (1578-1657) wrote these words. Although the philosophy of his younger contemporary, René Descartes (1596-1650) was not yet in full bloom (he died a year before Harvey's book appeared), Cartesianism was certainly on the explanatory horizon, 2 as was the work of another contemporary and contributor to the "new philosophy," Pierre Gassendi (1592-1655). 3 And, of course, Harvey had certainly known Francis Bacon (1561-1626). 4 Nevertheless, Harvey was a devout Aristotelian who was adamantly opposed to the efforts of these contemporaries to replace Aristotle. 5 Moreover, it was from the Aristotelian tradition, not from the new mechanics, that Harvey had derived the concept of instrument.If, broadly speaking, the "new philosophy" was about a universe that was built like a clock, then the "old" natural philosophies, whether dominated by Platonism, Aristotelianism, Christian theology, or some combination, were about a universe that was socially constructed. 6 Not only was man at the center, to a large extent the workings of the universe were envisioned in terms of social experience. The regularity, predictability, harmony, and wonder of natural phenomena seemed best explained in the language of reason, moral values, motives, responsibilities, hierarchies, laws (in the social sense), and the like, explanatory resources that, in the late ancient and medieval intellectual cultures of Europe, far outweighed either those that appealed to the passively material and the mechanical, or to the random and the chance.But very central to that social model of nature was the concept of instrument, which gave to it something of a mechanical twist. To see how this was so, we need to go back temporarily to the works of Aristotle, the influence of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 43.1 (2005) 83-105 [Access article in PDF] Does Malebranche Need Efficacious Ideas? The Cognitive Faculties, the Ontological Status of Ideas, and Human Attention Susan Peppers-Bates But whatever effort of mind I make, I cannot find an idea of force, efficacy, of power, save in the will of the infinitely perfect Being. Malebranche, Elucidation 15 One of the signatures of 17th century rationalists is (...) their replacement of the Scholastics's dependence on the deliverances of the senses with a dependence on the deliverances of the intellect as the key to gaining knowledge.1 Correct use of the intellect leading to freedom from the passions and to certain knowledge figures prominently in the works of Spinoza and Leibniz. Descartes's Meditations uses skeptical doubt to withdraw the mind from the senses, and his reliance on the meditative genre not only reveals to his readers the intellect as a distinct source of knowledge, but also trains them to use properly their will or faculty of judgment. Commentators have argued persuasively that overthrowing the sense-based epistemology and metaphysics of the Aristotelians depended on "discovering" the primacy of one's intellect over the senses, and using the deliverances of the mind to establish solid foundations for a new metaphysics and epistemology.2 Indeed, [End Page 83] outlining the proper use of the mind's faculties arguably lay at the basis of the Cartesian program in particular. This importance can be seen in Arnauld and Nicole's influential Port-Royal Logic, which aimed at training its readers in the proper use of the intellect.3Few would question Nicolas Malebranche's inclusion in the rationalist tradition.4 For while Malebranche famously takes ideas out of the Cartesian mind and transports them to God's—thus privileging the divine over the natural light—he shares Descartes's belief that our intellect, not our senses, holds the key to metaphysical truths such as the essence of matter, the mind-body distinction, and the existence of God.5 Yet, recently, Nicholas Jolley has contended that Malebranche's later commitment to "efficacious ideas" undermines his earlier belief in the power of the cognitive faculties: he believes that Malebranche abandons his view that the mind makes "real use" of the intellect to know intelligible objects.6 Jolley's position builds upon Alquié and Robinet's claims that around 1694-95 Malebranche moved from a vision "in" God to a vision "by" God. Now God's ideas act on and modify the soul with both sensations and intellectual concepts, rather than the human intellect contemplating ideas in the Divine Reason.7Alquié and Robinet argue that Malebranche, pushed by the battles with Arnauld and Régis over the status of ideas, introduced the language of "efficacious" ideas to explain how the union of the human and the divine mind is supposed to work.8 Robinet in particular suggests that in cashing out the metaphor of God enlightening human minds, Malebranche moved from a static "ontologist" view of idea-objects in God to an active "illuminationist" view whereby divine ideas cause(intellectual [End Page 84] and sensory) perception by modifying the soul.9 Once one accepts this view of the place and function of efficacious ideas in Malebranche's metaphysics, it seems natural to accept Jolley's declaration that the only way for the mind to apprehend ideas in God is if those ideas "act directly on the mind; [if] they thereby cause cognitive states to arise in a substance which is devoid of all genuine cognitive capacities of its own."10 Indeed, Jolley suggests that Malebranche ultimately made the soul passive in all its states, including its volitional ones.11In this paper, I argue that a strong interpretation of efficacious ideas, whereby they appear to become true causal agents, must be rejected precisely because it pushes us into an incorrect reading of Malebranche's theory of the divine and human faculties. Making ideas true causal agents within God privileges divine reason at the... (shrink)

The digital revolution invites a reconsideration of the very essence of politics. How can we think about decision, control, and will at a time when technologies of automation are transforming every dimension of human life, from military combat to mental attention, from financial systems to the intimate lives of individuals? This article looks back to a moment in the 20th century when the concept of the political as an independent logic was developed, in a time when the boundaries and operations (...) of the classic state were in question. At the same moment, a whole new technological era was opened up with the emergence of intelligent machines and computers in the postwar cybernetic age. Technology, and cybernetics in particular, loomed large in Carl Schmitt’s articulation of the concept of the political, while the problem of radical open decision was at the heart of influential cybernetic approaches to politics. Linking these was the idea of entropic decay. Schmitt’s invocation of the theological concept of the Katechon, who restrains chaos in the time before Christ’s return, in fact exemplifies the new understandings of order in a cybernetic age facing new challenges of technology in a globalized condition. (shrink)

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting (...) established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production. (shrink)

Istanbul is home to a multimillion dollar transnational music industry, which every year produces thousands of digital music recordings, including widely distributed film and television show soundtracks. Today, this centralized industry is responding to a growing global demand for Turkish, Kurdish, and other Anatolian ethnic language productions, and every year, many of its top-selling records incorporate elaborately orchestrated arrangements of rural folksongs. What accounts for the continuing demand for traditional music in local and diasporic markets? How is tradition produced in (...) twenty-first century digital recording studios, and is there a "digital aesthetics" to contemporary recordings of traditional music? -/- In Digital Tradition: Arrangement and Labor in Istanbul's Recording Studio Culture, author Eliot Bates answers these questions and more with a case study into the contemporary practices of recording traditional music in Istanbul. Bates provides an ethnography of Turkish recording studios, of arrangers and engineers, studio musicianship and digital audio workstation kinesthetics. Digital Traditions investigates the moments when tradition is arranged, and how arrangement is simultaneously a set of technological capabilities, limitations and choices: a form of musical practice that desocializes the ensemble and generates an extended network of social relations, resulting in aesthetic art objects that come to be associated with a range of affective and symbolic meanings. Rich with visual analysis and drawing on Science & Technology Studies theories and methods, Digital Traditions sets a new standard for the study of recorded music. Scholars and general readers of ethnomusicology, Middle Eastern studies, folklore and science and technology studies are sure to find Digital Traditions an essential addition to their library. (shrink)

Through photographs and translations of Friedrich Nietzsche's evocative writings on his work sites, David Farrell Krell and Donald L. Bates explore the cities and landscapes in which Nietzsche lived and worked. "A brilliant juxtaposition of life and thought.... The sympathy of this pictorial biography is rivaled by few books on Nietzsche."—Charles M. Stang, _Boston Book Review_ "[A] distinguished addition to the Nietzsche-friendly corpus."—Alain de Botton, _Los Angeles Times Book Review_ "An odd and oddly endearing record of Nietzsche's travels."—John Banville, _New (...) York Review of Books_. (shrink)

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on (...) both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

The National Anti-Vivisection Hospital opened to patients in 1903, the only district hospital in London not financed by state-controlled funds, which refused it support because of its principles. For three decades the hospital treated the local poor and conscientious objectors to vivisection, who were assured that staff pledged not to experiment on animals or patients. After an overambitious building program, the hospital ran into financial difficulties, and the King’s Fund refused to help unless all references to antivivisection were removed from (...) its statutes. Thus it reopened as Battersea General in 1935, continuing to serve the borough until 1972. (shrink)

Malebranche's metaphysics and the problem of human freedom -- God, order, and general volitions -- Arnauld and Malebranche on the power of the human intellect -- The cognitive faculties and the divine ideas -- Malebranche on free will and imminent causation.

Françoise Dolto was a prominent French cultural figure thanks to her practice of dispensing psychoanalytically-informed child-rearing advice via the radio. From 1976 to 1978, on her show Lorsque l’enfant paraît, she responded to thousands of letters sent in by listeners requesting help with parenting problems and personal questions of a psychological nature. The article explores Dolto’s cultural position as a child psychoanalyst – understood in the 1960s and 1970s as a radical profession – but from a conservative, Catholic background. It (...) then examines a sample of the letters sent in to her show, analysing the demographics of the correspondents and highlighting their most common concerns. Finally the article studies the relationship between psychoanalysis and trauma. It indicates the anxiety that a psychoanalytic understanding can cause, by reinforcing parents’ fears that childhood traumas are common, can be created unwittingly by parents, and lead to major psychological consequences in later life. (shrink)

Resumen En el presente estudio se aborda la descripción de la semántica de los marcadores evidenciales por lo visto y se ve que en el marco de la teoría de la relevancia (TR). Tomando como punto de partida el análisis que Albelda, M. (2018). ¿Atenuación del compromiso del hablante?: El caso de los evidenciales por lo visto y se ve que. Rilce, 34.3, 1179–1214. traza de ambos evidenciales en un corpus oral, se realizó un estudio tanto cuantitativo como cualitativo de (...) los patrones y el rango de interpretaciones de cada expresión en una muestra de géneros escritos formales procedentes del Corpus de Referencia del Español Actual (CREA). Los resultados cuantitativos mostraron algunas diferencias con respecto a los obtenidos por Albelda, M. (2018). ¿Atenuación del compromiso del hablante?: El caso de los evidenciales por lo visto y se ve que. Rilce, 34.3, 1179–1214: por lo visto es principalmente inferencial y, en menor medida, reportativo en la escritura formal. En contraste con los géneros orales, tiende a introducir inferencias genéricas, y en ocasiones también precede conjeturas. Se alinea con el parámetro de la objetividad, permitiendo al emisor mostrar una menor implicación hacia la evidencia, así como un mayor compromiso epistémico hacia la fiabilidad de la información. Se ve que, por el contrario, es generalmente un marcador inferencial, tanto en géneros escritos como orales. Se emplea, principalmente, para encabezar inferencias conjeturales. Con se ve que, el emisor muestra una mayor implicación y subjetivización, y un menor compromiso epistémico hacia la evidencia que se introduce en el discurso. Los diferentes patrones de comportamiento discursivo exhibidos por ambos evidenciales pueden explicarse en el marco de la teoría argumentativa del razonamiento (Mercier, H. y Sperber, D. (2011). Why do humans reason? Arguments for an Argumentative Theory. Behavioral and Brain Sciences, 34.2, 57–74; Mercier H. y Sperber, D. (2017). The Enigma of Reason. Cambridge, Mass.: Harvard University Press.). Por lo visto y se ve que tienden a introducir, respectivamente, conclusiones intuitivas y reflexivas que deben ser verificadas y aceptadas por la audiencia. Se ve que apunta, generalmente, a la activación de los mecanismos cognitivos de vigilancia epistémica y lectura de la mente, mientras que por lo visto tiende a desencadenar los procesos de vigilancia epistémica y de razonamiento. (shrink)

Despite ideals of philosophical objectivity, who speaks is as important as what is said, and those who fall outside the Eurocentric male norm often are not heard or invited to participate in theorizing. New work chronicling and challenging the creation of white supremacist ideology in philosophy is needed greatly. In this important book, Another Mind-Body Problem: A History of Racial Non-Being, John Harfouch reveals the hermeneutical injustice that obscures how professional philosophers understand the mind-body problem today and how the terms (...) of that problem were created in the early modern period. Unlike the puzzle of causal relations between the mind and body canonized by white philosophers... (shrink)

We support Uchiyama et al. in the value of genetics, sample diversification, and context measurement. Against the example of vitamins, we highlight the intransigence of many phenotypes. We caution that while culture can mask genetic differences, the dependence of behaviour on genetics is reinvented and unmasked by novel challenges across generations.

In this paper I explore the production aesthetics that define the sound of most arranged traditional music albums produced in the early 2000s in Istanbul,Turkey. I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics,and is often described by studio musicians and (...) engineers in Turkey as an exaggeration of the perceived brightness of the majority of Anatolian folk instruments. Büyük ses, which in basic terms connotes a high density of heterogeneous musical parts,in contrast to parlak has no relation to any known longstanding Anatolian musical performing traditions or timbral aesthetics, and is a recent development in Istanbul-produced record- ings.Parlak and büyük ses became widespread after 2000,accompanying the paradigm shift of Istanbul studios from analog to digital workflows. Parlak and büyük ses are of interest for reasons that transcend music-aesthetics. The successful creation of mixes with parlak and büyük ses necessitates a palpable change in the performance practice of folk music instruments, as well a fundamental reconfiguration of the social structure of music-making, which in turn involves new musical competences and conceptualizations of musical practice. Parlak and büyük ses are not just a result of using a particular set of technologies (i.e., microphones or effects plugins), but instead arise from arduous and detailed arrangement and nonlinear editing work that is made feasible through DAW (digital audio workstation) systems. Although parlak and büyük ses index the transformation of traditional music aesthetics in the context of digital audio recording production, and their production is at the forefront of concerns of the professionals working in the recording studio environment, the terms are never mentioned in published music criticism, and only usually uttered in the studio context at the inception of a project and at the completion of a mix. Considerable preemptive work is done by studio musicians, engineers, and arrangers to avoid the need for the terms to be mentioned at all. (shrink)

While ethnomusicologists often write about musical instruments and engage with social theories, these two predilections are typically distinct, and rarely are instruments theorized let alone considered in social terms. Drawing on recent work in Science and Technology Studies, I argue for a study of the social where musical objects (including instruments) and people are actors within patterned heterogeneous networks. I begin with literary examples of instruments framed as having agency, then move to the treatment of instrument-agency within organology. As an (...) exemplar for this methodology, I consider the social life of the saz, an ubiquitous lute from Turkey. (shrink)

In 1955, Goodman set out to ‘dissolve’ the problem of induction, that is, to argue that the old problem of induction is a mere pseudo‐problem not worthy of serious philosophical attention. This dissolution, which has enjoyed tremendous acceptance, essentially involved an application of what has since been called the method of reflective equilibrium. Largely in connection with naturalism in epistemology, the reflective equilibrium method has lately been the subject of considerable attention. I will argue that, under naturalistic views of the (...) reflective equilibrium method, it cannot provide a basis for a dissolution of the problem of induction. This is because naturalized reflective equilibrium is – in a way to be explained – itself an inductive method, and thus renders Goodman's dissolution viciously circular. This paper, then, examines how the old problem of induction crept back in while nobody was looking. (shrink)

Hegel’s “Absolute Knowing” and Shakespeare’s Troilus and Cressida are tragi-comic consternations. They are theatres of ethical panentheism: they present dramatic “absolute” ethical interpretations and actions, each of which is at once ungrounded and completely seeded. I start with the etymology of “consternation.” Then I discuss the comic vs. tragic interpretations of Hegel’s Phenomenology of Spirit, arguing it is a consternating tragi-comedy. I analyze the predicate “absolute” in terms of consternations, in a few passages of the book. I elaborate especially upon (...) phenomenological reasoning’s Sache selbst. In the Phenomenology, reason develops by thinking the absolute thing through culture, politics, morality, and religion, reaching completion in “Absolute Knowing.” That absolute is reason’s comprehensive insight into its phenomenological absolutes, and its own absolute sublating. Northrop Frye’s cited claim about myth can be understood in this phenomenological way. With all this in hand, Hegel’s science of experience is formally complete. But the experience of Absolute Knowing is still consternation. To capture the consternating essence of sublation – a consternation by which experience becomes something it was not before – I season this formal science with Shakespeare’s “comedy” Troilus and Cressida, revealing its structural roots to be consternations. (shrink)

In this paper I will argue that a false assumption drives the attraction of philosophers to a divine command theory of morality. Specifically, I suggest the idea that anything not created by God is independent of God is a misconception. The idea misleads us into thinking that our only choice in offering a theistic ground for morality is between making God bow to a standard independent of his will or God creating morality in revealing his will. Yet what is God (...) is hardly independent of him, and in coupling a perfect being theology with the doctrine of divine simplicity we discover that God’s “reason” is God. Accordingly, obeying the truths of goodness that we humans speak of as contained in the divine wisdom hardly impugns the divine sovereignty. By modifying divine command ethics to give primacy to God’s love or justice, thinkers such as Robert M. Adams, Philip L. Quinn, and Edward J. Wierenga admit the repugnance of this picture in spite of their verbal allegiance to divine command ethics. Accordingly, they implicitly concede that basing morality on God’s sheer power should not be the preferred option for the Christian theist. (shrink)

Aeschylus’ Oresteia supports Aristotle’s claim about the naturalness of the city and the city’s role in shaping justice for humans. In the Oresteia, Aeschylus shows how the city’s justice is the only way to control the wrath of the Furies. Aeschylus shows that the city and its justice tames the Furies and provides for the only way by which the husband-wife relation, which is not a blood tie but provides the basis for which the family is even possible, can be (...) preserved and be secure from the passions the Furies release in their quest for revenge. The Furies and their desire for vengeance for the violation of the blood bond, threaten to undermine the very basis on which the family is founded: the husband-wife bond. Thus Aeschylus gives support and aids Aristotle’s position that the husband-wife bond is a political bond and rests within the realm of the city and the political. (shrink)

This paper critically examines how senior figures in the UK Labour Party and wider labour movement discussed the topic of immigration in the immediate aftermath of the UK's vote to leave the European Union in 2016. Influenced by the Discourse Historical Approach, the paper is based on an analysis of 86 public interventions by Labour figures, over a 6-month period, delivered in speeches, articles and essays. The paper examines argumentative strategies adopted by Labour figures – including Members of Parliament, advisors (...) and trade union leaders – who called for stronger immigration controls from an avowedly ‘left-wing’ perspective. Foregrounding their commitment to progressive politics, Labour politicians argued that restricting the number of migrants entering Britain was democratic, anti-racist and an expression of the Labour Party's commitment to the interests of working-class people. Nevertheless, it is the contention of this paper that the Labour Party's rhetoric tapped into right-wing populist discourses which constructed immigration as a threat to the racialised privileges of a ‘white’ working class. (shrink)

As austerity measures are put into place the world over and global restructuring is acknowledged by all as an attempt to bolster the economic system that lead to the crash, there is a great need to come to grips with the economic, political and philosophical legacy of Marx. Of particular interest are Marx's analyses of alienation and the cycles of boom and bust thought to be integral to the functioning of capitalism. Moreover, as the Cold War drifts into the history (...) books, it is possible to reconsider the lasting impact of Marx's analyses without the shadows cast by the Soviet version of communism. Equally, though, scholars are increasingly turning to Marx for insight into the rise of religion and the corresponding demise of political ideologies that seems to mark the contemporary age. Are we witnessing 'the return of Marx'? Few scholars have done as much to tease out the intricacies of Marx, ideology and religion and their overlapping concerns as the eminent writer and Marx biographer, Professor David McLellan. This book brings together a group of internationally renowned academics to reflect upon, develop and criticise McLellan's analyses of these three themes with a view to contributing more broadly to scholarly debates in these fields. This exciting and timely analysis will be of interest to scholars of political theory, the history of political thought, Marx and Marxism, sociology of knowledge, religion and theology more widely. (shrink)