In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry (...) in order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry (...) in order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry (...) in order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response and Rejoinder DOES PHILOSOPHY NEED LITERATURE? a critical response by Hugh Mercer Curtler In the second issue of this journal,1 Jesse Kalin argues most provocatively that "philosophy needs literature" because the latter is capable of "rehearsing and exhibiting," as philosophy is not, "the moral construction of one's own life, namely that part of it in which concern and value" are involved (p. 182). Two of (...) John Barth's novels— The Floating Opera and The End of The Road—are used as examples and, according to Kalin, provide evidence for his thesis that philosophical novels present a certain kind of philosophical material in the only way it can be presented. More specifically, Kalin claims that these two novels (1) are both about nihilism, (2) advance the philosophical argument that nihilism is false, and (3) present this argument in a way it could not otherwise be presented. In Kalin's words, "the philosophical argument of these two novels cannot be presented in the normal non-literary mode exemplified by the essay and journal article" (p. 178). I shall examine each of these claims in turn. To say that Barth's novels are "about" moral nihilism is either trivially true or wrong-headed. If Kalin means that the novels "have to do with" moral nihilism, this is^ certainly true but not very significant. We might also say The End of The Road is about illegal abortion, the delights of teaching in a community college, or the trials and tribulations of a bachelor in a small town in Maryland. It appears, then, that Kalin has something more in mind; namely, that the point of the novel is an examination of moral nihilism. That this is indeed Kalin's intention would seem apparent from the second claim listed above: that Barth's novels argue that moral nihilism is "false." I shall examine the question ofwhether these novels "argue" the falsity of moral nihilism in a moment, but first I must raise an objection to the prior claim that such is the point of the novel. A novel does not make a point; it makes a great many points, it 110 Hugh Mercer Curtler111 provokes thought and raises questions, it suggests possibilities, it states truths (plural), and above all else it presents dramatically. That is to say, insofar as the novel is a work of art it does these things, and it is primarily a work of art. In terms of the contents of the novel, what we find is a host of images, thought fragments, figures, suggestions, hints, bits and pieces, and —if the novelist is a good one, like Barth—some valuable insights. If the novelist is a great one, then the insights are profound and worthy of repeated examination and reflection, although we may not always be able to make out precisely what the novelist has said; the novelist is a master of disguises and sleight of hand. The way of saying things is for him quite often more important than what is said. It is clear I share with Kalin very few assumptions about the nature of literature, or poetry, and its relationship to philosophy. With regard to his central claim that the "argument" of Barth's novels is (1) philosophical and (2) incapable of being presented in another form, I shall argue that because (2) is true (1) must be false. To prepare the way, I shall begin with a brief examination of the nature of "argument" as it applies in our present context. Kalin states that the argument presented by Barth in the novels is a "literarily advanced exhibitionary argument" (p. 180). What does it mean, though, to say the novel "argues" at all? Kalin surely does not contend that Barth is arguing philosophically in the manner of, say, Gilbert RyIe or even Kalin himself, hence his characterization of the argument as "exhibitionary." Barth's "argument," we must assume, seeks to persuade rather than to prove in any narrow logical sense of that term. Persuasion, in turn, is intuitive rather than reasoned, as suggested by Kalin's insistance that the argument cannot be separated from its literary form. As Kalin would have it, the novelist creates a... (shrink)

Designed to immediately engage students and other readers in philosophical reflection, the new edition of Ethical Argument: Critical Thinking in Ethics bridges the gap between ethical theory and practice. This brief introduction combines a discussion of ethical theory with fundamental elements of critical thinking--including informal fallacies and the basics of logic--and uses case studies and practical applications to illustrate concepts. Author Hugh Mercer Curtler presents a carefully formulated critique of ethical relativism, encouraging students to reason along with (...) him and to question his argument at every point. This approach enables students to think systematically about ethical issues and to acquire basic skills in argumentation at the same time. They will learn how to bring principles to bear on ethical conflict, how to weigh pros and cons, how to recognize good ethical reasons, and how to distinguish sound argumentation from rationalization. The second edition of Ethical Argument: Critical Thinking in Ethics includes new exercises and examples, summary boxes, cartoons, and sample dialogues that demonstrate how to effectively debate ethical positions. It features more than forty case studies on ethical issues that are interesting and relevant to students. An ideal core text for courses in introductory ethics, this concise volume can be used along with additional primary sources, case studies, or newspaper articles and novels. It is also a helpful supplementary text for courses in applied ethics--including professional, business, and medical ethics--and in critical thinking. (shrink)

THE ESSAY IS A REPLY TO NORMAN BOWIE'S EARLIER ARTICLE "ASPECTS OF KANT'S PHILOSOPHY OF LAW" IN THE "FORUM" (VOL. II, 4). CONTRARY TO BOWIE, I CONTEND THAT THE NATURAL LAW ELEMENTS PREDOMINATE IN KANT'S PHILOSOPHY OF LAW. THE CITIZEN CONFRONTED BY A CIVIL LAW THAT RUNS COUNTER TO THE MORAL LAW HAS ALTERNATIVES OTHER THAN REBELLION. HE CAN (1) SEEK REFORM OF THE LAW, (2) OFFER 'NEGATIVE RESISTANCE' TO THE LAW, OR (3) 'AVOID SOCIETY ALTOGETHER'-BREAK THE SOCIAL CONTRACT.

Reading good books -- After virtue, what? -- All's fair in war and politics -- Captain relative, be gone! -- Dumbing down the kids -- What became of God? -- The philosopher meets John Madden -- What's on TV tonight? -- Flotsam and Jetsam.

Recent empirical work calls into question the so-called Simple View that an agent who A’s intentionally intends to A. In experimental studies, ordinary speakers frequently assent to claims that, in certain cases, agents who knowingly behave wrongly intentionally bring about the harm they do; yet the speakers tend to deny that it was the intention of those agents to cause the harm. This paper reports two additional studies that at first appear to support the original ones, but argues that in (...) fact, the evidence of all the studies considered is best understood in terms of the Simple View. (shrink)

The literary relations between the Harlem Renaissance and the Negritude Movement have, we believe, been sufficiently documented. It has been demonstrated that Senghor, Damas and Césaire avidly perused the pages of Crisis, Opportunity and Garvey's Negro World—Journals in which Langston Hughes, Claude Mckay, Countee Cullen and Jean Tommer—the poets of the Harlem Renaissance, first had their poems published. It is equally literary history now, that some of the poems of the Afro-American writers were reprinted in such Parisian Black-oriented journals and (...) little magazines as Les Continents, La Dépêche Africaine, Le Cri des Nègres, La Revue du Monde Noir and Légitime Défense. In this dissemination of ideas across the Atlantic, Paulette Nardal, Edward A. Jones, Louis T. Achille and Mercer Cook played the important role of literary intermediaries through their translations. (shrink)

It is a little understood fact that the system of formal logic presented in Wittgenstein?s Tractatusprovides the basis for an alternative general semantics for a predicate calculus that is consistent and coherent, essentially independent of the metaphysics of logical atomism, and philosophically illuminating in its own right. The purpose of this paper is threefold: to describe the general characteristics of a Tractarian-style semantics, to defend the Tractatus system against the charge of expressive incompleteness as levelled by Robert Fogelin, and to (...) give a semantics for a formal language that is the Tractarian equivalent of a first-order predicate calculus. Of note in regard to the latter is the fact that a Tractatusstyle truth-definition makes no appeal to the technical trick of defining truth in terms of the satisfaction of predicates by infinite sequences of objects, yet is materially equivalent to the usual Tarski-style truth-definitions. (shrink)

Anti-vivisectionists charge that animal experimenters are speciesists people who unjustly discriminate against members of other species. Until recently most defenders of experimentation denied the charge. After the publication of `The Case for the Use of Animals in Biomedical Research' in the New England Journal of Medicine , experimenters had a more aggressive reply: `I am a speciesist. Speciesism is not merely plausible, it is essential for right conduct...'1. Most researchers now embrace Cohen's response as part of their defense of animal (...) experimentation. Cohen asserts that both rights and utilitarian arguments against the use of animals in research fail because they `refuse to recognize the moral differences among species'.2 If we appreciate the profound differences between humans and non-human animals, he says, we would understand why animals do not and could not have rights and why animal pain does not have as much moral weight as human pain. Animal liberationists think speciesism is immoral because they mistakenly equate it with racism and sexism. Cohen claims this equation is `unsound', `atrocious', `utterly specious', and `morally offensive'. Doubtless Cohen is right that the charge of speciesism is founded on an analogy with racism and sexism. He is mistaken, however, in asserting that the comparison is categorically illicit. (shrink)

Most philosophers have given up George Berkeley’s proof for the existence of God as a lost cause, for in it, Berkeley seems to conclude more than he actually shows. I defend the proof by showing that its conclusion is not the thesis that an infinite and perfect God exists, but rather the much weaker thesis that a very powerful God exists and that this God’s agency is pervasive in nature. This interpretation, I argue, is consistent with the texts. It is (...) also an important component of Berkeley’s philosophical project, which consists of launching many small arguments against his philosophical and theological opponents. (shrink)

Democracy surrounds us like the air we breath, and is normally taken very much for granted. Across the world democracy has become accepted as an unquestionably good thing. Yet upon further examination the merits of democracy are both paradoxical and problematic, and the treasured values of liberty and equality can be used to argue both for and against it. In the historical section of the book, Ross Harrison clearly traces the history of democracy by examining the works of, amongst others, (...) Plato and Aristotle, Hegel and Marx. Informed by facts and detailed knowledge of these famous thinkers, Harrison provides a clear and cogent justification of democracy. (shrink)

The results of this paper concern the effective cardinal structure of the subsets of [ω1]<ω1, the set of all countable subsets of ω1. The main results include dichotomy theorems and theorems which show that the effective cardinal structure is complicated.

It is a little understood fact that the system of formal logic presented in Wittgenstein’s Tractatusprovides the basis for an alternative general semantics for a predicate calculus that is consistent and coherent, essentially independent of the metaphysics of logical atomism, and philosophically illuminating in its own right. The purpose of this paper is threefold: to describe the general characteristics of a Tractarian-style semantics, to defend the Tractatus system against the charge of expressive incompleteness as levelled by Robert Fogelin, and to (...) give a semantics for a formal language that is the Tractarian equivalent of a first-order predicate calculus. Of note in regard to the latter is the fact that a Tractatusstyle truth-definition makes no appeal to the technical trick of defining truth in terms of the satisfaction of predicates by infinite sequences of objects, yet is materially equivalent to the usual Tarski-style truth-definitions. (shrink)

Sport, Ethics and Philosophy, Volume 5, Issue 2, Page 161-174, May 2011.

In the first part of this article an attempt was made to clear the ground for a functional theory of knowledge, and the discussion of structure and function with which it concluded enables us to approach the problem of cognition. If the view already set forth is sound, it seems clear that the relation of the mind to its object is a function and not a structure of the mental processes involved. The mere existence of a mental content, however complex (...) it may be, however decorated with fringes or set off by a background, does not constitute an act of knowledge or give the content a meaning. In order to see a mental act as cognitive we must consider its function, its origin, its results, and in general the circumstances in which it stands. (shrink)

In everyday English usage, the words ‘literal’ and ‘figurative’ are normally taken to be opposite in meaning. It is an opposition with very ancient roots. One of its forbears was the medieval theory of Scriptural hermeneutics, which distinguished among the literal, allegorical, moral, and anagogic senses of Scripture. This itself had an ancestry in pre-Augustinian times: Augustine tells in his Confessions how he learned from Ambrose the trick of interpreting Scripture figuratively, thus eliminating the problems and contradictions created by a (...) literal reading. Earlier still, the distinction and the opposition were at least implicit in Poetics 21, where Aristotle differentiated between the standard or normal name for a thing, and various other types of name among which he listed metaphor. The antonymy of the literal and the figurative is therefore deeply embedded in our intellectual history, and it is perhaps for this reason that it has remained, to a large extent, unexamined and unquestioned. (shrink)