In the recent history of philosophy few works have appeared which favorably portray Idealism as a plausible philosophical view of the world. Considerably less has been written about Idealism as a viable framework for doing theology. While the most recent and significant works on Idealism, composed by the late John Foster (Case for Idealism and A World for Us: The Case for Phenomenological Idealism), have put this theory back on the philosophical map, no such attempt has been made to re-introduce (...) Idealism to contemporary Christian theology. Idealism and Christian Theology is such a work, retrieving ideas and arguments from its most significant modern exponents (especially George Berkeley and Jonathan Edwards) in order to assess its value for present and future theological construction. As a piece of constructive philosophical-theology itself, this volume considers the explanatory power an Idealist ontology has for contemporary Christian theology. (shrink)

SummaryThe recent atonement literature reveals a growing trend accepting the thesis that the Reformer’s doctrine just is the biblical doctrine of penal substitution. This is the claim of William Lane Craig in his recent works on the atonement. In the present article, we challenge these set of claims in Craig’s recent works and advance an alternative theory of the atonement that has some significant footing in the Reformed theological tradition, most notably reflected in the theologian, William Ames. Finally, we lay (...) out several reasons why Craig’s doctrine of the atonement fails to capture the biblical data on the atonement and fails to avoid the legal fiction problem parasitic on most, if not all, accounts of penal substitution. (shrink)

The doctrine of the atonement is a subject of perpetual curiosity for a number of contemporary theologians. The penal substitution theory of atonement in particular has precipitated a great deal of recent interest, being held up by many Protestants as ‘the’ doctrine of atonement. In this essay, we make a defense against the objection to the Anselmian theory of atonement that is often leveled against it by exponents of the Penal Substitution theory, namely, that Christ’s work does not accomplish anything (...) for those whom it appears he undertakes his atoning work, but merely makes provision for salvation. (shrink)

_The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.

Hamilton argues that narratives engage our imaginations not so much by having us pretend the events they depict are true or present as by having us engage in a kind of anticipation of events to come. The idea is that the grasp of a narratively structured presentation is explained in very much the same way any sequence of events, considered as a sequence, is grasped.

This chapter contains section titled: Success Conditions for Interpreting what is Performed and Interpreting how it is Performed Eschewing Theories of “Work Meaning” Interpretation and Significance Interpreting Performers.

This chapter contains section titled: What Performers do and what Audiences can Know The Features of Performers and Choices that Performers Make Theatrical Conventions as Sequences of Features Having Specific “Weight” What is Involved in Reference to Theatrical Styles More about Styles, as Produced and as Grasped Grasp of Theatrical Style and Deeper Theatrical Understanding.

In lieu of an abstract, here is a brief excerpt of the content:The Art of Theater—A PrécisJames R. Hamilton (bio)In The Art of Theater I propose and explain a claim that many theater people hold true in some form but, so far as I can tell, have defended in a manner that has had almost no success outside discussions among themselves.1 The claim proposed is that, in an unqualified way, theater is a form of art. By that I mean (...) theatrical performances are what are created in the practice of theater and that theatrical performances are works of art because they can be picked out and appreciated in the same ways we appreciate other kinds of artworks.2The agenda I set for the book is to state and explain what that claim comes to—exactly and in detail. Accordingly, most of the book consists of explanations of what else must be true if the claim is true, together with arguments defending the truth of those entailments. Some of the material consists of clarifying what the claim does not entail, and some passages contain arguments to show that alternative claims have problems that this one does not. Of these, I have allowed the explanation and clarification materials to carry the burden. Many philosophers and literary theorists are likely to find the claim incomprehensible because they have inherited, rather than critically accepted, a conception of theater as centrally dependent on literary texts.3 Philosophers, literary theorists, and theater theorists are better served by the explanations and clarifications I offer, however, because they show the claim can withstand the immediate objections or worries likely to arise.The direct argumentation I offer for the claim is historical. Indeed, I begin the book by tracing how theater has been conceived and practiced in the European theatrical tradition since the 1850s. I start there and then for several reasons. First, it is the beginning of a period of great achievement in theater, when literary artists began again to write for theater. Second, the same period also gave rise to a now dominant conception of theater: namely, [End Page 4] the idea that theatrical performances, or at least the most often performed, are events that are dependant primarily if not exclusively on literary texts. Finally, the 1850s were also the beginning of a period in which theater people were both doing and thinking about theater in ways that resisted that very same dominant conception. The conclusion I come to in tracing this history is that—without always intending to and sometimes by intending the opposite—theater’s theoretical practitioners have put us in a position to see the truth of the claim that theatrical performance itself is an independent form of art. Assured we can see that truth in the actual historical practices of theater, even in its most self-consciously text-oriented period, I then proceed to explain and clarify the claim.To begin with, the enormous success of the conjunction of literature and theater in late European theater practice means that any view of the art status of theatrical performances must explain the relation between a performance and a literary text, at least when a literary text is used in the performance. This is the first bit of explanation I undertake. A number of models of this relationship have been proposed, and I survey three of the primary ones. First, the “literary” model holds that performances illustrate or, at best, interpret the text and exist as a means to present the content—or the interpreted content—of the text in a performance mode. Second, the “two-text” model holds that the content of the literary text must be translated, adapted, transformed, reconstructed, or otherwise “reinscribed” in the language of theater. A third model, popular in analytic aesthetics, attempts to piggyback an account of theatrical works, texts, and theatrical performances on the well-developed ontology of musical works, scores, and musical performance.4 This third model might provide the right ontology of theatrical performances. Before we try to determine what kinds of things or events make our experience of theater what it is, however, first we should seek the best explanation of that experience. And that is the task I undertake in... (shrink)

This chapter contains section titled: The Idea of a Tradition and Tradition‐Defining Constraints Constraints Derived from Origins in Written Texts What Really Constrains Performances in the Text‐Based Tradition The Myth of “Of”.

This chapter contains section titled: Idealized Cases that Help Focus on Features Needing Analysis Three General Facts about Theatrical Performances and the Constraints They Impose on any Successful Account of Theatrical Performances.

Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.

Hamilton shows how awareness of the uses of space -- in particular uses of space in which to stage an event of any kind -- enable spectators to pick out characters, props, and the like across performances within production runs, across production runs, and even across productions employing different scripts. The key ideas of object identification are taken both from the philosophical and the empirical literature and are treated as epistemic ideas rather than metaphysical conceptions.

Hamilton argues that there is a level of understanding of theatrical performances, and narrative performances in particular (called "plays"), that does not require grasp of the large-scale aesthetic features that usually inform the structure of what is presented. This "basic understanding" is required for any spectator to go on to have a deeper understanding and, so, grounds any spectator's understanding of the larger-scale features of a performance.

Background In Switzerland, right-to-die organisations assist their members with suicide by lethal drugs, usually barbiturates. One organisation, Dignitas, has experimented with oxygen deprivation as an alternative to sodium pentobarbital. Objective To analyse the process of assisted suicide by oxygen deprivation with helium and a common face mask and reservoir bag. Method This study examined four cases of assisted suicide by oxygen deprivation using helium delivered via a face mask. Videos of the deaths were provided by the Zurich police. Dignitas provided (...) protocol and consent information. Results One man and three women were assisted to death by oxygen deprivation. There was wide variation in the time to unconsciousness and the time to death, probably due to the poor mask fit. Swiss law prevented attendants from effectively managing the face mask apparatus. Purposeless movements of the extremities were disconcerting for Dignitas attendants, who are accustomed to assisting suicide with barbiturates. None of the dying individuals attempted self-rescue. Conclusions The dying process of oxygen deprivation with helium is potentially quick and appears painless. It also bypasses the prescribing role of physicians, effectively demedicalising assisted suicide. Oxygen deprivation with a face mask is not acceptable because leaks are difficult to control and it may not eliminate rebreathing. These factors will extend time to unconsciousness and time to death. A hood method could reduce the problem of mask fit. With a hood, a flow rate of helium sufficient to provide continuous washout of expired gases would remedy problems observed with the mask. (shrink)

God vs. the Gavel challenges the pervasive assumption that all religious conduct deserves constitutional protection. While religious conduct provides many benefits to society, it is not always benign. The thesis of the book is that anyone who harms another person should be governed by the laws that govern everyone else - and truth be told, religion is capable of great harm. This may not sound like a radical proposition, but it has been under assault since the 1960s. The majority of (...) academics and many religious organizations would construct a fortress around religious conduct that would make it extremely difficult to prosecute child abuse by clergy, medical neglect of children by faith-healers, and other socially unacceptable behaviors. This book intends to change the course of the public debate over religion by bringing to the public's attention the tactics of religious entities to avoid the law and therefore harm others. (shrink)

Describes the life and influence of B. Brecht. Offers useful explanations of several key concepts Brecht employed, and revised over his career, including: gestus, Verfremdung, and Verfremdungseffekt.

An investigation of Handke's play by means of an analysis of the elements of the Tractatus, known to have influenced Handke at the time he wrote Kaspar. This approach yields a much more plausible account of Handke's representation of his central character's alienation than are available from now-standard semiotic and post-structuralist analyses.

A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.

This chapter contains section titled: Idealized Cases Models of the Text‐Performance Relation Definitions of Terms Used to Describe What Spectators Do Definitions of Terms Used to Describe What Performers Do Counterfactual Conditionals Demonstrative and Recognition‐Based Identification Feature‐salience Model Metaphysical Realism Necessary and Sufficient Conditions Ontology, Metaphysics, Epistemology Note.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

The text of lines 39–40 is open to three main objections: stimulantem pectu Achilli cannot be construed in its context; to refer tuas to Persen would involvi difficult, though not unexampled, change of person; and thirdly, and most serious, it is scarcely possible to believe that Cornelia could appeal to a king of Macedon to testify to the soundness of her morals.

Salespeople have a moral obligation to prospect/customer, company and self. As such, they continually encounter truth-telling dilemmas. "lgnorance" and "conflict" often block the path to morally correct sales behaviors. Academics and practitioners agree that adoption of ethical codes is the most effective measure for encouraging ethical sales behaviors. Yet no ethical code has been offered which can be conveniently used to overcome the unique circumstances that contribute to the moral dilemmas often encountered in personal selling. An ethical code is developed (...) that charts ethical paths across a variety of sales settings (addressing "ignorance") while illustrating why the cost associated with acting morally is generally reasonable (addressing "conflict"). The code applies the universal transactional notions of customer expectations and salesperson reputation to illustrate why and when salespeople are morally required to tell the truth. In doing so, the code tackles head-on the vexing question of how best to juggle mixed motives - involving self-interests, corporate-concerns, cus-tomer-needs and other influences such as the nature of the transaction. The issue of how mixed motives can be dealt with through moral means is one that ethicists have previously sidestepped (Stark, 1993). (shrink)

An authoritative and accessible book by a qualified scientist, showing incredible proof of the mind-body connection. There is no longer any doubt that the way we think affects our bodies: countless scientific studies have shown this to be true. For former pharmaceutical scientist Dr David Hamilton, the testing of new drugs highlighted how profoundly the mind and body are connected. Time and time again, the control group of patients in drug trials improved at similar rates to those who actually (...) received the medicines. Astounded, Dr Hamilton decided to change the direction of his work to explore the relationship between the mind and the body. This bestselling acclaimed book was first published 10 years ago. In it, Dr Hamilton explores the effect of visualization, belief and positive thinking on the body, and shows how using our imagination and mental processes can stimulate our own defences and healing systems to combat disease, pain and illness. In this new edition, Dr Hamilton has added four new chapters to discuss the latest cutting-edge information and extraordinary new techniques. These include using imagery to stimulate the immune system - a method that can benefit cancer patients undergoing conventional treatment - effectively using the mind to speed up rehabilitation from stroke, and powerful visualization strategies to help facilitate recovery from injury and illness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Replies to CriticismsJames R. HamiltonI am grateful to Noël Carroll, David Davies, Sherri Irvin, Aaron Meskin, and Paul Thom for stimulating discussions of The Art of Theater over the past year, culminating in these carefully crafted critical comments on various aspects of the book.1 I especially appreciate the efforts of Sherri Irvin, who edited this special issue and without whose encouragement, enthusiasm, and careful editing this would not have (...) happened.Whenever the central proposals made in The Art of Theater were made by theater people during the past hundred years, they were greeted with a kind of baffled outrage by many traditionalist literature scholars who had taken it as an obvious fact that theatrical performances are nothing more than illustrations or interpretations of works of dramatic literature, at best requiring artistry for performance but not issuing in independent works of art. Quite a few contemporary literature and theater scholars have seen errors in the traditionalist view and proposed that theatrical performances are capable of even great artistry and, perhaps, of being works of art in their own right. It must be said, however, that they will not find my defense of that position congenial. Indeed, it will seem worse still from their point of view because my defense of the position does not require semiotic analysis, let alone any sort of poststructuralist thinking about theatrical performances that depends on seeing performance as a novel kind of text—a “theater text.” This will disappoint because, unlike many contemporary literary theorists (and even some theater theorists), I do not think of theatrical performances as something to be read and, further, as something that falls within the purview of literary scholarship after all. Performances are actions and are to be understood in the ways we understand all other actions.I knew the central proposals in The Art of Theater would seem a little strange to philosophers. Some of the strangeness that they have felt about the view—if not the baffled outrage felt by literary theorists—can be mitigated, I believe, by considering three facts that served as motivations for making the proposal. I encountered these facts while teaching experimental theater techniques in a workshop format. Only gradually did I come to realize they are facts about any theatrical performance—its presentation, its [End Page 80] preparation, and its reception. It was only after I realized how general these facts are that I began to wonder why the view they seem to suggest is not more widely held, or even discussed, among philosophers working on the performing arts. My book was designed to get that discussion going. And, to judge by the quality of the discussion in this volume, it has succeeded admirably in meeting that goal. I think the book is also largely correct, however, so it is worth beginning at the beginning, with the basic facts I encountered in teaching experimental theater.First, it is undeniable that what typical spectators for any theatrical performance grasp is delivered to them entirely during the time of the performance itself. The typical spectator—which excludes academics and professional critics—is usually unfamiliar with what she is about to see and hear, in content if not in kind. Nevertheless, most spectators are successful in tracking most theatrical performances, even some in wildly unfamiliar styles and traditions. This is an important fact. Its importance lies in the implication that spectators do not need to recognize anything beyond what they see in the performance to regard the event as something they can assess aesthetically and artistically.Second, rehearsal processes for theatrical performances involve a lot of experimentation that focuses on how to make features of actors’ bodies and voices render clearly what the audience is supposed to see and hear and on how to make the sights and sounds generated by the ensemble, the set, the lighting, and so on focus audience attention in the places that will best enable them to understand what the company is presenting. This too is an important fact, for it highlights what any spectator has to know something about in order to make cogent artistic assessments of the event she has witnessed.Finally, consider the following case... (shrink)

The object of this article is to examine the letter from which Plutarch quotes in the above passage from the twenty-eighth chapter of his life of Alexander; to attempt to prove, particularly by a comparison of the letter with the Sidypafifia sent in 319 B.C. by Polyperchon to the Greek cities, that it is a genuine part of Alexander's correspondence; and further to consider what light the letter, if genuine, throws upon the person of Alexander himself.

In this article I propose a way of thinking about aesthetic and artistic verdicts that would keep them distinct from one another. The former are reflections of the kinds of things we prefer and take pleasure in; the latter are reflections of other judgments we make about the kinds of achievements that are made in works of art. In part to support this view of verdicts, I also propose a way of keeping distinct the description, the interpretation, and the evaluation (...) of works of art. (And along the way, I worry about whether we offer the same kinds of interpretations of the objects of our aesthetic pleasures, properly considered, that we clearly do offer with respect to works of art.) The thesis I propose—the achievement model—is not original with me. What is original, perhaps, is that it is posed as an alternative to two other views of artistic evaluation, namely the appeal to “ideal critics” and the appeal to one way of understanding our preferences with regard to works of art. I do not attempt to show that each of these alternatives meets with insuperable problems; but I do indicate what I take to be the substantive content of those problems. In the end, in order to flesh out the thesis I propose, I borrow some material from the literature on human well-being concerning how we determine what an achievement is. (shrink)

In his illuminating discussion of ‘the Caspian question’ Sir William Tarn, basing his case mainly on Aristotle, Meteorologica, 2. 1. 10 and Strabo, 11. 7. 4, argued that Alexander knew of the existence of the Aral Sea. Tarn's conclusion, however, was soon challenged by Professor Lionel Pearson, who disagreed in particular with Tarn's interpretation of the passage in Strabo. But, although he undoubtedly succeeds in showing that some of Tarn's arguments are not valid, Pearson fails, as it seems to me, (...) to disprove his main contention. Indeed, Pearson misunderstands the line of Strabo's argument and is led to propose an unnecessary emendation of the text. (shrink)

In his illuminating discussion of ‘the Caspian question’ Sir William Tarn, basing his case mainly on Aristotle, Meteorologica, 2. 1. 10 and Strabo, 11. 7. 4, argued that Alexander knew of the existence of the Aral Sea. Tarn's conclusion, however, was soon challenged by Professor Lionel Pearson, who disagreed in particular with Tarn's interpretation of the passage in Strabo. But, although he undoubtedly succeeds in showing that some of Tarn's arguments are not valid, Pearson fails, as it seems to me, (...) to disprove his main contention. Indeed, Pearson misunderstands the line of Strabo's argument and is led to propose an unnecessary emendation of the text. (shrink)

This chapter contains section titled: Minimal General Success Conditions for Basic Theatrical Understanding Physical and Affective Responses of Audiences as Non‐Discursive Evidence of Understanding The Success Conditions for Basic Theatrical Understanding Met by Moment‐to‐moment Apprehension of Performances “Immediate Objects,” “Developed Objects,” and “Cogency” Objects of Understanding having Complex Structures Generalizing Beyond Plays The Problem of “Cognitive Uniformity”.

In an otherwise convincing article Mr. T. P. Wiseman argues that this passage ‘seems to mean that L. Memmius and Q. Pompeius were principes, i.e. outstanding orators, and that they were not among those who spoke in their own defence in 90 B.C.’. But he rightly refuses to believe that Cicero can have intended this, since, apart from other considerations, it is clear from Cicero's previous references to Memmius and Pompeius that he did not consider them to be outstanding orators.

In an otherwise convincing article Mr. T. P. Wiseman argues that this passage ‘seems to mean that L. Memmius and Q. Pompeius were principes, i.e. outstanding orators, and that they were not among those who spoke in their own defence in 90 B.C.’. But he rightly refuses to believe that Cicero can have intended this, since, apart from other considerations, it is clear from Cicero's previous references to Memmius and Pompeius that he did not consider them to be outstanding orators.