In lieu of an abstract, here is a brief excerpt of the content:THE STATUS AND FUNCTION OF DIVINE SIMPLENESS IN SUMMA THEOLOGIAE Ia, qq. 2-13 PETER BURNS, S.J. l esuit School of Theology Berkeley, California Introduction I N THE FIRST PART of what follows I hope to do four things: a) to give a brief summary of Aquinas's remarks contained in the third question of the first part of the Summa Theologiae, entitled de Dei simplicitate; b) to outline (...) two diferent ways of interpreting what Aquinas is about when making those remarks; c) to assess which interpretation is better from an exegetical standpoint; d) to assess which interpretation is better from a philosophical standpoint. In the second part my aim will be threefold : a) to trace the way Aquinas derives and uses the concept of divine simpleness in questions 2 through 11 ; b) to examine briefly the relationship between this concept and possible cosmological arguments for the existence of God; and c) to evaluate critically some modern treatments of arguments of the cosmological type in the light of this relationship. I shall not be concerned to show that Aquinas's conclusions in question 2 (the Five Ways) are justified by the arguments he adduces; rather, my concern will be to show that an adequate evaluation of his arguments cannot ignore the function of divine simpleness as a key element therein. I. The Status Of Divinle Simpleness (1) A Summary of S.T. la, 3 At the beginning of question 3 Aquinas lists eight points of inquiry. The first is whether God is a body, that is, composed 1 2 PETER BURNS, S.J. of extended parts. He offers three reasons why he thinks the reply must be negative. Firstly, an unchanging first cause of change, which God is (by la, 2, 3) would appear not to be bodily, since experience offers no examples of bodies causing change without themselves changing. Secondly, to be extended in space implies the potentiality of being divisible, but a primary reality is utterly actual, since absolutely speaking, actuality precedes po~ tentiality, and God is the primary reality. Thirdly, since the soul is nobler than inanimate things, and God is the most excellent of beings, God cannot be any less noble than the soul. But the soul in itself is not bodily but that in virtue of which bodies are what they are. In the next article Aquinas denies that God is composed of matter and form because matter is potential and only exists by participating in some form. In addition, since agents act in virtue of their form, God, as the prime source of activity and being in no way potential, must be considered as being essentially form without composition with matter, Aquinas then asks whether God can be identified with his own essence or nature. Given that matter is the individuating factor in beings composed of matter and form, and that such composition is ruled out in case of God, Aquinas claims that the distinctness of his being must be due to form. Hence God is his own form or nature or essence. In a crucial move in the next article Aquinas identifies God, who is his essence, with his existence, for as an uncaused necessary reality this essence must be self-subsistent. Thus God's nature or essence is necessarily self-instantiating, nor does God participate in existence, but essentially is identical with (the act of) 'existing', Therefore the distinction between essence and existence, between what something is and that it is, does not hold for God. Having daimed that God is his own existence, Aquinas argues that this existence is prior to genus in general and to the genus of substance specifically. So there is no possibility of distinguishing in God genus and difference, nor can God receive predicates as a substance, since this would imply potentiality. Therefore God is DIVINE SIMPLENESS IN SUMMA THEOLOGIAE 3 not composed of substance and accidents. In article 7, Aquinas claims that God is altogether simple. After summing up the previous remarks he makes two general points. Everything composite is subsequent to and dependent on its components, whereas God is the first, uncaused necessary being. Secondly, everything composite is caused, for essentially diverse elements must... (shrink)

The reinforcement sensitivity theory proposes that neurobiological systems mediate protective and appetitive behaviours and the functioning of these systems is associated to personality traits. In this manner, the RST is a link between neuroscience, behaviour, and personality. The theory evolved to the present revised version describing three systems: fight-flight-freezing, behavioural approach/activation, and behavioural inhibition. However, the most widely available measure of the theory, the BIS/BAS scales, only investigates two systems. Using a large longitudinal community survey, we found that the BIS/BAS (...) scales can be re-structured to investigate the three systems of the theory with a BIS scale, three BAS scales, and a separate fight-flight-freezing system scale. The re-structured scales were age, sex, and longitudinally invariant, and associations with personality and mental health measures followed theoretical expectations and previously published associations. The proposed framework can be used to investigate behavioural choices influencing physical and mental health and bridge historical with contemporary research. (shrink)

This article addresses the ability of Parallel Distributed Processing (PDP) networks to generate stagewise cognitive development in accordance with Piaget's theory of cognitive epigenesis. We carried out a replication study of the simulation experiments by McClelland (1989) and McClelland and Jenkins (1991) in which a PDP network learns to solve balance scale problems. In objective tests motivated from catastrophe theory, a mathematical theory of transitions in epigenetical systems, no evidence for stage transitions in network performance was found. It is concluded (...) that PDP networks lack the ability to recover the positive outcomes of analogous catastrophe analyses of real cognitive developmental data. In an attempt to further characterize the learning behaviour of PDP networks, we carried out a second simulation study using the discrimination‐shift paradigm. The results thus obtained indicate that PDP learning is compatible with the learning of stimulus‐response relationships, not with the acquisition of mediating rules such as conceived in (neo‐)Piagetian theory. In closing, we speculate about the feasibility of simulating stagewise development with alternative network architectures. (shrink)

Friendships have important influences on children's well-being and future adjustment, and interpersonal forgiveness has been suggested as a crucial means for children to maintain friendships. However, existing measures of preadolescent children's forgiveness are restricted by developmental limitations to reporting emotional responses via questionnaire and inconsistent interpretations of the term “forgive.” This paper describes development and testing of concurrent and discriminant validity of a pictorial measure of children's emotional forgiveness, the Children's Forgiveness Card Set. In Study 1, 148 Australian children aged (...) 8–13 years responded to a hypothetical transgression in which apology was manipulated and completed the CFCS and extant measures of forgiveness and socially desirable responding. Following an exploratory factor analysis to clarify the structure of the CFCS, the CFCS correlated moderately with other forgiveness measures and did not correlate with socially desirable responding. Apology predicted CFCS responding among older children. In Study 2 an exploratory factor analysis broadly replicated the structure of the CFCS among a sample of N = 198 North American children aged 5–14 years. We also fitted an exploratory bi-factor model to the Study 2 data which clarified which cards best measured general forgiveness, or positive or hostile aspects of responding to transgressions. Apology once again predicted the CFCS, this time regardless of age. The CFCS appears a potentially valid measure of children's emotional forgiveness. Potential applications and differences between explicit and latent forgiveness in children are discussed. (shrink)

A brief review of Peter Kivy's collection of eleven essays on Philosophy of Music.

A historical perspective on the future of the car Content Type Journal Article Pages 1-3 DOI 10.1007/s11016-010-9479-z Authors Peter D. Norton, Department of Science, Technology and Society, University of Virginia, Charlottesville, VA 22904-4744, USA Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

Philosophical Investigations, EarlyView.

alone, in a reclining posture in his drawing-room. He was lean, ghastly, and quite of an earthy appearance. … He was quite different from the plump figure which he used to present … He seemed to be placid and even cheerful … He said he was just approaching to his end … I had a strong curiosity to be satisfied if he persisted in disbelieving a future state even when he had death before his eyes. I was persuaded from what (...) he said, and from his manner of saying it, that he did persist. I asked him if it was not possible that there might be a future state. He answered it was possible that a piece of coal put upon the fire would not burn; and he added that it was a most unreasonable fancy that we should exist for ever … I asked him if the thought of annihilation never gave him any uneasiness. He said not the least; no more than the thought that he had not been, as Lucretius observes. … He said he had no pain, but was wasting away. I left him with impressions which disturbed me for some time. (shrink)

It was a novel, among other things, which originated the atomic bomb. H. G. Wells dedicated The World Set Free, published in 1913, to Frederick Soddy, a pioneer in the exploration of radioactivity. Using Soddy’s research as a base, Wells predicted the advent of artificial radioactivity in 1933, the year in which it actually took place; and he foresaw its use for what he named the “atomic bomb.” In Wells’ novel these bombs are used in a world war that erupts (...) in mid-century and is so catastrophic that a world government is formed, initiating a new age powered by the peaceful use of the atom. The physicist Leo Szilard, a long-time admirer of Wells, read this novel in 1932, the year before he first intuited the possibility of a nuclear chain reaction. The novel seems to have become part of his own mental chain reaction. One that took place at an almost unconscious level during the spring that Szilard spent at the Strand Palace Hotel in London, by his own admission doing nothing. He would only monopolize the bath from around nine to twelve in the morning, since “there is no place as good to think as a bathtub.”1 The theories that resulted from this prolonged immersion were introduced by references to Wells; and Szilard, having realized the atomic bomb, spent the rest of his life trying to realize the world government which, in the Wells novel, was its consequence.Literature, which was part of the genesis of nuclear weaponry, continues to be an inextricable aspect of its nature. For Derrida, in fact, we are facinga phenomenon whose essential feature is that of being fabulously textual, through and through. Nuclear weaponry depends, more than any weaponry in the past, it seems, upon structures of information and communication, structures of language, including non-vocalizable language, structures of codes and graphic decoding. But the phenomenon if fabulously textual also to the extent that, at the moment, a nuclear war has not taken place: one can only talk and write about it.2The linguistic nature of the arms race, of peace talks and negotiations, has been thoroughly analyzed. Likewise there is a growing number of books on the nature of nuclear war. But there is also a growing body of novels, poems, and plays making up a literature of nuclear holocaust. As the example of Wells’ novel shows, this is not altogether unprecedented; nuclear literature predates Hiroshima. But the subject of nuclear war has, up till now, mainly served the purposes of science fiction; only rarely—as in the cases of A Canticle for Leibowitz and On the Beach—have science fiction authors risen above the lowest common denominator of that genre. In the 1980s, every year sees the publication of works which demand serious attention both as literature and as fictive strategies for comprehending a subject that is commonly called “unthinkable.” Russell Hoban’s Riddley Walker, Bernard Malamud’s God’s Grace, Maggie Gee’s The Burning Book, Tim O’Brien’s Nuclear Age—these works explicitly preoccupied with nuclear holocaust may be supplemented by other works of the eighties with a persistent apocalyptic undertone, works such as Doris Lessing’s Canopus in Argos series, Umberto Eco’s Name of the Rose, and Mario Vargas Llosa’s War of the End of the World. And these are only the literary manifestations of a widespread movement in all the arts aimed at expressing the dominant condition of our time.3 1. Leo Szilard, Leo Szilard: His Version of the Facts: Selected Recollections and Correspondence, ed. Spencer R. Weart and Gertrud Weiss Szilard , p. 19.2. Jacques Derrida, “No Apocalypse, Not Now ,” Diacritics 14 , p. 23.3. Examples can be found in painting , mixed media , opera , oratorio , dance , film , television , and popular music . Peter Schwenger is associate professor of English at Mount St. Vincent University in Halifax, Nova Scotia. The author of Phallic Critiques: Masculinity and Twentieth-Century Literature, he is working on a book-length study of nuclear holocaust literature. (shrink)

The national park model originating in the unique circumstances of mid-19th century North America has been widely applied in the developing countries of the late 20th century, provoking numerous land-use conflicts between parks and resident peoples. Key factors in understanding these conflicts are examined using the field experience of the Ranomafana National Park in Madagascar. A conflict management strategy is suggested for alleviating such antagonism and facilitating the investigation of mutually acceptable conservation and development pathways.

A photographer and a geographer explore where the pavement ends. Nevada's enigmatic Black Rock country, despite its apparent silence and isolation, is actually an area where natural forces are ceaselessly restless and life in many forms has endured for millennia. Its haunting landscape has been the focus of study and contemplation by scientists, explorers, outdoors aficionados, and artists. In ""Black Rock,"" photographer Peter Goin and geographer Paul F. Starrs explore this fascinating place from the viewpoints of their respective disciplines. (...) The Black Rock, a desert realm almost the size of Delaware but scarcely a hundred miles north of Reno, embraces mile-high vertical mountains and one of the earth's flattest, most barren salt pans, boiling hot springs and freezing winter cold, plants that have evolved to survive the severest drought and lush pockets of rich grasses. Its bewildering environments startle our senses with a raw physical intensity that comes through in Goin's eloquent photographs and Starrs's richly informed text. We observe the region from numerous perspectives - the Black Rock at ground level, from the skies above, in the geology below; witness the shaping roles of water, wind, and geothermal action in shaping it; and view the effects of human hands, from ancient Native Americans to nineteenth-century explorers, ranchers, and miners, up through the congregants at today's Burning Man festivals. The result is a brilliant duet of visual and literary commentary on a region of stunning paradoxes and constant change and activity, where need and curiosity encounter the daunting, implacable forces of nature. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

The paper deals with tolerance and intolerance on the background of the tensions existing between the moral “No” and “Yes”, between the initial rejection of the values, beliefs of the others and respecting them. An indifferent tolerance of the people incapable of saying moral “Yes” or “No” is unveiled as an attitude emptied of spiritual and moral contents. It also shows the dilemmas of morally convinced people when facing the normative request to tolerate the values and beliefs of the others. (...) The conflict between “Yes” and “No” becomes the most burning if one’s moral belief is grounded in the existence of independent moral truths. In the light of Nietzsche’s critique of tolerance as “an incapability of Yes and No” the author asks the question, whether respecting moral truths is compatible with tolerating deviations which would go beyond the benevolent attitude of the believers to those morally confused. (shrink)

Preservation of the biological diversity and ecosystems in protected areas can be achieved through projects linking conservation of the protected areas with improved standards of living for resident peoples within surrounding buffer zones. This is the hypothetical claim of the integrated conservation and development project (ICDP) approach to protected area management. This paper, based on several years of experience with the Ranomafana National Park Project in Madagascar, questions the major assumptions of this approach from ethical and practical perspectives. The four (...) basic strategies available to ICDPs – protected areas, buffer zones, compensation, and economic development – are analyzed and shown to be deficient or untested in the case of Ranomafana. Recommendations are made to explore conservation models other than the western conception of the national park, to modify the notion of a buffer zone outside the protected area, to redistribute money or other resources directly to the poor people living in and around the protected areas, and to eliminate the middle men in the development business. An appeal is made to focus on local education, organization and discipline in order to promote self-determination and self-reliance among resident peoples of protected areas. The paper argues that a public works program, similar to the Roosevelt administration''s Civilian Conservation Corps of the 1930s, funded through a hard-currency endowment or other innovative financing mechanism, should be tried as a replacement for the currently questionable ICDP approach at Ranomafana. (shrink)

Social and political topics of public concern shift and reconfigure themselves with volatility as well as speed in contemporary life. Issues ignite and arouse constituencies of response, in alliance and opposition, with a quite uncertain degree of predictability, even if with periodicities and a detectable routing circuitry about which it is easy to become cynical, or at least fatigued. Something burns, now, among us; and we would prefer not to think much about the fact that it, or a close (...) relative, burned a year and a half before—sometimes even more recently—in other places more plausibly a fountain and fundament of currents of Western cultural life. The issues must feel real; they must be seen as urgent, abstract matters of right and wrong, shocking disclosure, heroic resistance, without reference to anywhere else than here and anyone else but us. (shrink)

Ranchers and pastoralists worldwide manage and depend upon resources from rangelands across Earth’s terrestrial surface. In the Great Plains of North America rangeland ecology has increasingly recognized the importance of managing rangeland vegetation heterogeneity to address conservation and production goals. This paradigm, however, has limited application for ranchers as they manage extensive beef production operations under high levels of social-ecological complexity and uncertainty. We draw on the ethics of care theoretical framework to explore how ranchers choose management actions. We used (...) modified grounded theory analysis of repeated interviews with ranchers to compare rancher decision-making under relatively certain and uncertain conditions and describe a typology of practices used to prioritize and choose management actions that maintain effective stewardship of these often multi-generational ranches. We contrast traditional decision-making frameworks with those described by interviewees when high levels of environmental and market uncertainty or ecological complexity led ranchers toward use of care-based, flexible and relational frameworks for decision-making. Ranchers facing complexity and uncertainty often sought “middle-ground” strategies to balance multiple, conflicting responsibilities in rangeland social-ecological systems. For example, ranchers’ care-based decision-making leads to conservative stocking approaches to “manage for the middle,” e.g. to limit risk under uncertain weather and forage availability conditions. Efforts to promote heterogeneity-based rangeland management for biodiversity conservation through the restoration of patch burn grazing and prairie dog conservation will require increased valuation of ranchers’ care work. (shrink)

Sustaining soil fertility is essential to the prosperity of many households in the mid-hills of Nepal, but there are concerns that the breakdown of the traditional linkages between forest, livestock, and cropping systems is adversely affecting fertility. This study used triangulated data from surveys of households, discussion groups, and key informants in 16 wards in eastern and western Nepal to determine the existing practices for soil fertility management, the extent of such practices, and the perception of the direction of changes (...) in soil fertility. The two principal practices for maintaining soil fertility were the application of farmyard manure (FYM) and of chemical fertilizer (mainly urea and diammonium phosphate). Green manuring, in-situ manuring, slicing terrace risers, and burning plant residues are rarely practiced. FYM usage was variable with more generally applied to khet land (average 6053 kg fresh weight manure ha−1) than to bari land (average 4185 kg fresh weight manure ha−1) with manure from goats and poultry preferred above that from cows and buffaloes. Almost all households (98%) apply urea to khet land and 87% to bari land, with 45% applying diammonium phosphate to both types of land. Application rates and timings of applications varied considerably both within and between wards suggesting poor knowledge transfer between the research and farming communities. The benefits of chemical fertilizers in terms of ease of application and transportation in comparison with FYM, were perceived to outweigh the widely reported detrimental hardening of soil associated with their continued usage. Among key informants, FYM applied in conjunction with chemical fertilizer was the most popular amendment, with FYM alone preferred more than chemical fertilizer alone – probably because of the latter’s long-term detrimental effects. Key informant and householder surveys differed in their perception of fertility changes in the last decade probably because of differences in age and site-specific knowledge. All key informants felt that fertility had declined but among households, only about 40% perceived a decline with the remainder about evenly divided between no change and an increase. Householders with small landholdings (< 0.5 ha) were more likely to perceive increasing soil fertility while those with larger landholdings (> 2 ha) were more likely to perceive declining fertility. Perceived changes in soil fertility were not related to food self-sufficiency. The reasons for the slow spread of new technologies within wards and the poor understanding of optimal use of chemical fertilizers in conjunction with improved quality FYM may repay further investigation in terms of sustaining soil fertility in this region. (shrink)

Peter Linebaugh, an acclaimed expert on eighteenth-century England, is unflinching in his ambitions for Red Round Globe Hot Burning: “This book in its quest for Edward and Catherine Despard, and in...

"At places distant from where you are, but also uncomfortably close," writes David Takacs, "a holocaust is under way. People are slashing, hacking, bulldozing, burning, poisoning, and otherwise destroying huge swaths of life on Earth at a furious pace." And a cadre of ecologists and conservation biologists has responded, vigorously promoting a new definition of nature: biodiversity --advocating it in Congress and on the Tonight Show; whispering it into the ears of foreign leaders redefining the boundaries of science and politics, (...) ethics and religion, nature and our ideas of nature. These scientists have infused the environmental movement with new focus and direction, but by engaging in such activities, they jeopardize the societal trust that allows them to be public spokespersons for nature in the first place. The Idea of Biodiversity analyzes what biodiversity represents to the biologists who operate in broader society on its behalf, drawing on in-depth interviews with the scientists most active today in the mission to preserve biodiversity, including Peter Raven, Thomas Lovejoy, Jane Lubchenco, and Paul Ehrlich. Takacs explores how and why these biologists shaped the concept of biodiversity and promoted it to society at large--examining their definitions of biodiversity their opinions about spirituality and its role in scientific work the notion of biodiversity as something of intrinsic value and their views on biophilia, E. O. Wilson's idea that humans are genetically predisposed to love nature. Takacs also looks at the work of twentieth-century forerunners of today's conservation biologists--Aldo Leopold, Charles S. Elton, Rachel Carson, David Ehrenfeld--and points out their contributions to the current debates. He takes readers to Costa Rica, where a group of scientists is using biodiversity to remake nature and society. And in an extended section, he profiles the thoughts and work of E. O. Wilson. "When I'm asked, 'should we save this species orthat species, or this place or that place?' the answer is always 'Yes!' with an exclamation point. Because it's obvious. And if you ask me to justify it, then I switch into a more cognitive consciousness and can start giving you reasons, economic reasons, aesthetic reasons. They're all dualistic, in a sense. But the feeling that underlies it is that 'yes!' And that 'yes!' comes out of the affirmation of being part of it all, being part of this whole evolutionary process. And agreeing with Arne Naess that each species, each entity, should be allowed to continue its evolution and to live out its destiny... just do its thing, as we say. Why not? And the 'why not?' is there's too many people."--Michael E. Soule, from an interview in The Idea of Biodiversity "An important contribution, a first distanced examination of a critical, modern topic by a scholarly, honest broker."--E. O. Wilson, Harvard University. (shrink)

Green Mass is a meditation on—and with—twelfth-century Christian mystic and polymath Saint Hildegard of Bingen. Attending to Hildegard's vegetal vision, which greens theological tradition and imbues plant life with spirit, philosopher Michael Marder uncovers a verdant mode of thinking. The book stages a fresh encounter between present-day and premodern concerns, ecology and theology, philosophy and mysticism, the material and the spiritual, in word and sound. Hildegard's lush notion of viriditas, the vegetal power of creation, is emblematic of her deeply entwined (...) understanding of physical reality and spiritual elevation. From blossoming flora to burning desert, Marder plays with the symphonic multiplicity of meanings in her thought, listening to the resonances between the ardency of holy fire and the aridity of a world aflame. Across Hildegard's cosmos, we hear the anarchic proliferation of her ecological theology, in which both God and greening are circular, without beginning or end. Introduced with a foreword by philosopher Marcia Sá Cavalcante Schuback and accompanied by cellist Peter Schuback's musical movements, which echo both Hildegard's own compositions and key themes in each chapter of the book, this multifaceted work creates a resonance chamber, in which to discover the living world anew. The original compositions accompanying each chapter are available free for streaming and for download at www.sup.org/greenmass. (shrink)

Since its original publication in 1975, this groundbreaking work has awakened millions of concerned men and women to the shocking abuse of animals everywhere--inspiring a worldwide movement to eliminate much of the cruel and unnecessary laboratory animal experimentation of years past. In this newly revised and expanded edition, author Peter Singer exposes the chilling realities of today's "factory farms" and product-testing procedures--offering sound, humane solutions to what has become a profound environmental and social as well as moral issue. An (...) important and persuasive appeal to conscience, fairness, decency and justice, Animal Liberation is essential reading for the supporter and the skeptic alike.--From publisher description. (shrink)

The relationship of part to whole is one of the most fundamental there is; this is the first and only full-length study of this concept. This book shows that mereology, the formal theory of part and whole, is essential to ontology. Peter Simons surveys and criticizes previous theories, especially the standard extensional view, and proposes a more adequate account which encompasses both temporal and modal considerations in detail. 'Parts could easily be the standard book on mereology for the next (...) twenty or thirty years.' Timothy Williamson, Grazer Philosophische Studien. (shrink)

Acting Now to End World Poverty Peter Singer. were our own, and we cannot deny that the suffering and death are bad. The second premise is also very difficult to reject, because it leaves us some wiggle room when it comes to situations in.

In lieu of an abstract, here is a brief excerpt of the content:The Earthquake of 1906, the Christian Anarchy of Dorothy Day, and the Opened “Tomb” of René GirardAnn W. Astell (bio)The autobiographical writings of Dorothy Day (1897–1980) feature a childhood memory of catastrophe and conversion, her traumatic experience at age eight of the earthquake that rocked San Francisco and Oakland in 1906, leaving half of San Francisco in ruins and sending 50,000 refugees in flight from the burning city, many (...) of them in ferries across the bay. Day’s observations of the spontaneous behavior of people who helped one another at that time of crisis guided her later in dealing with the great crash of 1929 and the subsequent economic depression, during which, in 1933, she cofounded with Peter Maurin (1877–1949) the Catholic Worker Movement and its many Houses of Hospitality.Day’s experience of an anti-sacrificial civilization of love emerging spontaneously out of a chaotic situation of social crisis seems to challenge René Girard’s theory of the scapegoat-mechanism as the normative way of restoring order and peace to a community whose very existence is threatened by anarchy. A closer examination of Day’s experience and social thought in conversation with Girard’s reveals that Girard and Day agree about the violent origins of all culture, which Day envisages as revealed by an earthquake, Girard as concealed by a tomb—related foundational images that, as we shall see, Scripture scholars [End Page 19] find collocated especially in the final chapters of the Gospel according to St. Matthew. The difference between the two images—one natural and one man-made—should not, and indeed cannot, be overlooked, however. The earthquake and its social effect as observable phenomena force the consideration that Girard’s early formulations of his theory, which explicitly distanced it from naturalistic explanations of myth, need to be revised in a way that accords more closely with his own later, apocalyptic thought.In an article published recently in Contagion, Matthew Pattillo has shown that Girard’s writings parallel, and to some extent directly affected, those of Jacques Ellul,1 the noted Christian anarchist who cites Girard explicitly on occasion and whose many books, according to Mark and Louise Zwick, “influenced the later Catholic Worker Movement.”2 In this article, I follow Pattillo’s lead, going back in time in order to examine ways in which the mimetic theory of Girard illumines the early thought and practice of Day, highlighting the originality of Day’s Christian anarchism as a remedy for a culture founded on violence. Whereas Girard posits a prereligious phase of anarchic, contagious violence, to which the rituals and prohibitions of religious societies responded (thus distantly preparing the way for a secularized modernity in which “law and order” stand opposed to an ever-threatening “anarchy”), Day finds a freely chosen Christian anarchy the best cure for anarchic destruction and totalitarianism alike, thus forging what Pattillo calls a “‘third way’ beyond law, beyond morality, beyond chaos.”3 In the end, the prolonged crisis within which the Catholic Workers shape their anarchistic “new society” against an eschatological horizon confirms Girard’s apocalypticism, even as it serves to place it in conversation with the apocalyptic philosophy of history of the Russian philosopher Nicholas Berdyaev (1874–1949), whose thought influenced Maurin and Day.4The Earthquake and the TombFor Girard, the tomb is the real and metaphoric evolutionary origin of human civilization. “Culture,” he writes,always develops as a tomb. The tomb is nothing but the first human monument to be raised over the surrogate victim, the first, most elemental and fundamental matrix of meaning. There is no culture without a tomb, and no tomb without a culture; in the end, the tomb is the first and only [End Page 20] cultural symbol. The above-ground tomb does not have to be invented. It is the pile of stones in which the victim of unanimous stoning is buried.5Moving from its literal, historical meaning in connection with a primeval murder, Girard elaborates the metaphorical significance of the tomb for culture as a whole. As a site serving two functions simultaneously—namely, those of honoring the dead and of concealing a corpse—the tomb... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 689 Elizabeth Jean Hornbeck Who’s Afraid of the Big Bad Wolf?: Domestic Violence in The Shining At first glance, Stanley Kubrick’s 1980 film The Shining seems to be a straightforward Gothic horror film. It starts with the Torrance family— Jack, Wendy, and Danny—moving from their Boulder, Colorado, apartment into the Overlook Hotel, where Jack (Jack Nicholson) has accepted (...) a job as the winter caretaker. By the film’s climax, an axe-wielding Jack says to his terrified wife and son (Shelley Duvall and Danny Lloyd), through the door to the bathroom where they are hiding, “Little pigs, little pigs, let me come in. Not by the hair on your chinny chin chin? Then I’ll huff and I’ll puff and I’ll blow your house in!”1 Jack assumes the role of the Big Bad Wolf, the nightmarish, predatory beast of fairy tales. These lines, along with Nicholson’s exaggerated performance as a crazed killer, parody the Gothic horror genre and slasher films and even children ’s fairy tales in what is, at its core, a story about domestic violence. In both Kubrick’s film and Stephen King’s 1977 novel, from which the film was adapted, the Gothic genre becomes a vehicle for a serious tale about violence within the family. The “discovery” of child abuse in the 1960s, “the creation of the wife-beating problem” in the 1970s, and 1. The Shining, directed by Stanley Kubrick (1980; Warner Home Video, 2007), DVD. The line is from the fairytale of The Three Little Pigs. Geoffrey Cocks discusses the sources and ramifications of the fairytale in The Wolf at the Door: Stanley Kubrick, History and the Holocaust (New York: Peter Lang Publishing, Inc., 2004), 33–38. 690 Elizabeth Jean Hornbeck the feminist movement allowed viewers to perceive domestic violence with a new level of understanding.2 It is my contention that The Shining comments on domestic violence in a way that has been mostly overlooked by critics. While most analyses of both the novel and the film have come from literary and cinema studies perspectives, I offer a sociological approach focused on the profound effect of changing social mores on cultural production. I draw also on feminist and queer theorizing of audience identification, gender, and erotic pleasure in horror films to explain the significant contributions made by King, Kubrick, Duvall, and screenwriter Diane Johnson to the film’s intervention in US public discourse about domestic violence.3 The first scholar who argued that Kubrick’s film is essentially a domestic abuse narrative was James Hala, who based his analysis on a close reading of critical reviews of the film and a discussion of the performances, with no reference to its social, political, or historical context.4 But it is important to note that both the novel and the film came at the end of a decade when the recognition of domestic violence as a social problem was still relatively new. Sociologists and the medical and legal professions did not take “wife beating” seriously until the mid-1970s, when the women’s movement brought public attention to spousal abuse.5 2. Kathleen J. Tierney, “The Battered Women Movement and the Creation of the Wife Beating Problem,” Social Problems 29, no. 3 (1982): 207–20; Stephen J. Pfohl, “The ‘Discovery’ of Child Abuse,” Social Problems 24, no. 3 (1977): 310–23. 3. The theoretical works that I have drawn on most heavily are Carol J. Clover, Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton, NJ: Princeton University Press, 1992); and David Greven, Representations of Femininity in American Genre Cinema: The Woman’s Film, Film Noir, and Modern Horror (New York: Palgrave Macmillan, 2011). 4. James Hala, “Kubrick’s The Shining: The Specters and the Critics,” in The Shining Reader, ed. Anthony Magistrale (Mercer Island, WA: Starmont House, 1990), 203–16. 5. In 1976, a national survey reported that “at least 1.8 million American women are severely beaten in their own homes every year.” Murray A. Straus, et al., Behind Closed Doors: Violence in the American Family, as cited in “‘The Burning Bed’: TV... (shrink)

In this volume, Peter Furlong delves into the question of divine determinism - the view that God has determined everything that has ever happened or will ever happen. This view, which has a long history among multiple religious and philosophical traditions, faces a host of counterarguments. It seems to rob humans of their free will, absolving them of all the wrongs they commit. It seems to make God the author of sin and thus blameworthy for all human wrongdoing. Additionally, (...) it seems to undermine the popular 'Free Will Defense' of the problem of evil, to make a mockery of the claim that God loves us, and to make it inappropriate for God to blame and punish us. This work carefully formulates these and other objections to divine determinism and investigates possible responses to each of them, providing systematic and balanced discussion of this major philosophical and theological debate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 71-84 [Access article in PDF] Christian Views on Ritual Practice Society and Sacrament: The Anglican Left and Sacramental Socialism, Ritual as Ethics Nicholas GrovesLoyola University Introduction August in New York City is frequently a time of intense heat, where the congestion of city living kindles tempers to the breaking point. This is true in a special way in the tenements of the city, where people (...) without air-conditioning take raw anger and frustration into the streets. It was in this environment, in the tenements of the Lower East Side, that gang violence erupted in August of 1959. At least two young people were shot in gang-related "rumbles" and retaliation. Blacks and Puerto Ricans, already scrambling for the few available jobs society provided for them, squared off against each other. Police and the city of New York vowed more punishment, more arrests. (At this same time, Leonard Bernstein portrayed these struggles in terms of the love of Tony and Maria, but in "real life" it was "East Side Story" as much as "West Side Story.")In response to renewed war among his youth, the Episcopal priest, Fr. Kilmer Myers of St. Augustine's Chapel (now St. Augustine's Parish) also took to the streets. Canceling the church's usual patronal festival and carnival, he led his people in a procession through the streets of his neighborhood, with clergy clad in the solemn vestments of the Eucharist, with banners, incense, and hymns. His purpose: to pray and to plead that the killing stop, and that the authorities see the agony of the young who had abandoned an almost three-year "truce" he had helped work out with youth leaders between rival gangs.Myers wrote later in his book, Light the Dark Streets (Greenwich, Conn.: Seabury Press, 1957) about his ministry at St. Augustine's. In contrast to a city government and police department intent on further punishment as a solution to gang problems, Fr. Myers posed the presence of people who lived and worked with the young people and a community in desperate need: A parish such as this... so filled with darkness, defeat... and a longing for victory.... We think of next year and the year after that. We are not sure that we have the strength or that we can ask for it. The shouts in the street become an unending shout. The angry cry mingles with music from the tenement.... [End Page 71] There is the scream of the police siren. Will it stop in the block? There is the uncertainty at each youth affair. Will someone be shot or stabbed? (p. 96) In 1981, Bishop Desmond Tutu challenged the government of South Africa to abandon its policy of apartheid, a challenge he and others later won. But at that point, with any kind of victory far from certain, he confronted his opponents with words about his own spiritual commitment: I want to say that there is nothing the government can do to me that will stop me from being involved in what I believe is what God wants me to do. I do not do it because I like doing it. I do it because I am under what I believe to be the influence of God's hand. I cannot help it when I see injustice. I cannot keep quiet. I will not keep quiet, for as Jeremiah says, when I try to keep quiet, God's word burns like a fire in my breast. But what is it that they can ultimately do? The most awful thing that they can do is to kill me, and death is not the worst thing that can happen to a Christian. (Quoted in S. DuBoulay, Tutu: Voice of the Voiceless [Grand Rapids: Eerdmans, 1988], pp. 174-175.) How does ritual involve ethics? I would like to present for your consideration one example of such an intersection: the witness of what some have called the "Anglican Left" in both Britain and the United States, or what the historian Peter Jones has named "sacramental socialism... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE ARISTOTELIAN FIRST PRINCIPLE OF PRACTICAL REASON KEVIN L. FLANNERY, S.J. Pontijicia Universitas Gregoriana Rome, Italy INTRODUCTION* I N THE Summa Theologiae I-II, q. 94, a. 2,1 Thomas Aquinas identifies what is often spoken of as "the first principle of practical reason"-that is, "that good is to be done and pursued, and evil is to be avoided." Thomas explains: All other precepts of the natural law are based upon (...) this: so that whatever the practical reason naturally apprehends as man's good (or evil) *I am grateful to Peter Ryan, S.J. and Stephen Brock for commenting on a draft of this paper. 1I shall use a number of abbreviations: ST= Summa Theologiae; An.Post. =Posterior analytics; An.Pr. =Prior analytics; DA =De anima; EE =Eudemian ethics; EN = Nicomachean Ethics; GA =De generatione animalium; lnsomn. =De insomniis; Int. = De interpretatione; Metaph. =Metaphysics; MM= Magna moralia; Phys. =Physics; R. =Republic; Rhet. =Rhetorica; SE =Sophistici elenchi; FPPR =the first principle of practical reason; PNC =the principle of non-contradiction. I also use a number of transliterated Greek terms such as akolasia (depravity), akolastos (depraved person), akrasia (weakness of will), akrates (person subject to weakness of will), egkrateia (continence in spite of temptation), egkrates (person who remains continent in spite of temptation ), and phronesis (practical wisdom). I use them for brevity's sake and since they have also found their way into the standard philosophical vocabulary, at least in Aristotelian studies. I also speak in this essay as if Aristotle was the author of MM. For an argument in favor of a qualified understanding of this thesis, see note 14. For the Greek text of the works of Aristotle I have for the most part used the Oxford Classical Texts. The one major exception is Susemihl's edition of the MM: Franz Susemihl, ed., Aristotelis: Magna moralia (Leipzig: Tuubner, 1883). For most (but not all) of the translations from Aristotle, I have made use of Jonathan Barnes, ed., The Complete Works of Aristotle: the Revised Oxford Translation, 2 vols. (Princeton: Princeton University Press, 1984). For English translations of Thomas Aquinas's Summa Theologiae, I have used the translation by the Fathers of the English Dominican Province (London: Burns, Oates & Washbourne, 1920). 441 442 KEVIN L. FLANNERY, S.J. belongs to the precepts of the natural law as something to be done or avoided. Since, however, good has the nature of an end, and evil, the nature of a contrary, hence it is that all those things to which man has a natural inclination, are naturally apprehended by reason as being good and consequently as objects of pursuit, and their contraries as evil, and objects of avoidance. Wherefore according to the order of natural inclinations, is the order of the precepts of the natural law.' As its name suggests, the first principle of practical reason (FPPR) is no incidental tenet. Thomas compares it in this same article to the first principle of theoretical reason, better known as the principle of non-contradiction (PNC): "that the same thing cannot be affirmed and denied at the same time."3 On the other hand, it is also commonly acknowledged that Thomas's (philosophical) ethical theory is Aristotelian. How is it then that we never hear of an Aristotelian first principle of practical reason, either in the secondary literature or (as it seems) in Aristotle himself? I shall argue in this essay that there is such a principle in Aristotle's ethical theory and that it has the logical status that Thomas attributes to it. It is none other than the well-known paradoxical Socratic principle that no one deliberately does wrong4-understood in a certain way. (I shall refer to this principle as "the Socratic Principle.") I shall also argue that Aristotle has a fairly elaborate theory about how, psychologically, a person accommodates himself to a violatiqn of the first principle of practical reason. I shall leave one issue unaddressed: whether (as in the question from ST above) Aristotle's FPPR includes "all other precepts of the natural law." It will be apparent, however, 2 The best exegesis of this article of ST is Germain Grisez, "The First Principle of Practical Reason: A... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Augustine's Intellectual Conversion: The Journey from Platonism to ChristianityTravis E. AblesBrian Dobell. Augustine's Intellectual Conversion: The Journey from Platonism to Christianity. Cambridge-New York: Cambridge University Press, 2010. Pp. xvii + 250. Cloth, $82.00.The question of Augustine's Platonism is famously vexed. Since Peter Brown, the standard reading holds that Augustine did not move beyond the Neoplatonism of his early dialogues until he studied the writings of the apostle (...) Paul in the mid-390s CE, after which his distinctive theology begins to emerge. In this book, Brian Dobell's basic claim is that, whatever the validity of the "volitional conversion" of book 8, Augustine is not truly converted to orthodox Christianity until he discards the Photinian (adoptionist) Christology he admits to in Confessions [hereafter conf.] 7.19.25, and discards the Platonic ascent as a means to contemplative union with God, both of which take place with the reading of Paul. But the book is equally motivated by a concern to defend the historicity of conf.; Dobell claims it is perfectly reliable, once we understand the latter half of book 7 not as a few months in 386, but as a compressed narrative spanning Augustine's entire development until his true conversion to Christianity around 395. [End Page 137]Dobell develops this argument by isolating Augustine's twofold way of salvation in the writings of the late 380s. First is the "way of authority," in which Augustine's putative Photinian Christology portrays Christ as a kind of "poor man's Plato, sent to provide a path to salvation for the uneducated masses" (96). The human Jesus is "assumed" by God and is as "a man of outstanding wisdom" (73) but is not the incarnate Son. Dobell analyzes the homo assumptus/susceptus language of the early writings, arguing that Augustine does not truly hold an orthodox Christology until 396, concordant with the development of his theology of operative grace. The second, much longer section of the book concerns the "way of reason," the intellectualist path of salvation expressed in Augustine's early obsession with the liberal disciplines. Dobell dissects the Platonic ascents of conf. 7, adducing verbal and conceptual parallels from texts ca. 387–390 (De immortalitate animae, De ordine, De libero arbitrio, De vera religione) showing how Augustine's métaphysique des degrés d'être, a concept Dobell borrows from Olivier Du Roy, provides both a means of articulating these ascents and an answer to the problem of evil. But by De doctrina christiana, Augustine has decisively rejected the Platonic ascent and the liberal disciplines, and it simply remains for his Christology to come in line for the "intellectual conversion" to be complete.Dobell's book is a significant addition to the current debate. His knowledge of the first decade or so of Augustine's literary output is impressive, and his familiarity with the secondary literature is considerable, though not encyclopedic—he misses the work of J. Patout Burns, which complicates the Pauline thesis through consideration of the anti-Donatist literature. Dobell offers magisterial and invaluable discussions of famously fraught topics such as Augustine's indecisiveness about the preexistence of the soul, or the volitional solution to the problem of evil. There are some problems with Dobell's argument, though. While his main thesis that conf. 7.9.13ff. is a kind of précis of almost a decade of intellectual development deserves serious consideration, and is an elegant solution to debates about the historicity of Augustine's narrative in conf., the supporting arguments Dobell employs are less persuasive. A major portion of his book revolves around the contention that Augustine's early, heretical Photinian Christology extends much longer than modern scholarship has realized, that Augustine rectifies this Christology in conjunction with a Pauline soteriology of grace, and that all of this has to happen before Augustine's conversion is complete. If we suspend the question of normativity inherent in deciding Augustine's "orthodoxy" (particularly prior to Chalcedon), Dobell still does not succeed in showing that the early "pedagogical" homo assumptus Christology is, in fact, adoptionist; indeed, his evidence is often rather weak (for a tacit admission, see 73). On the flip... (shrink)