The usual metaphor for time is a flow. Edmund Husserl, in describing experience of our inner temporality, uses the term often: Fluss. In the final three decades of his life (1900s to 1930s), he gives us a well-articulated theory of time, especially the experience of its ongoingness and of our- selves in the processing of time. He refers to this latter, our immanent temporality, as a "flux" or flow and thus calls up the image of the river moving along with (...) its contents comprised in that flowing, gaining their fluent qualities from it. Yet Husserl's theory is not limited to a mechanistic understanding of flow as pure series, but in fact incorporates both a serial- ized aspect and a decentering, highly complex aspect of inner time-con- sciousness. The theory, then, requires a new metaphor, a re-mapping from serialistic diagrams to more dynamic ones. The challenge lies not only in achieving this re-mapping, but in showing the relation of dynamic diagrams to the serialistic ones that are still vital to the full descriptions of inner time- consciousness. (shrink)

Husserl and Contemporary Thought contains twelve essays that address certain key themes in Husserl's thought, each in some way confronting issues critical to the Husserlian project. The essays first appeared in the 1982 volume of Research in Phenornenology. The "contemporary thought" in the title should be understood in a limited sense as refer- ring to certain strains of thinking pursued in the present decade, build- ing however on past research. The volume shows several directions in which contemporary thinkers are taking (...) Husserlian phenomenology. The most common direction is through an evaluative contrast between Husserl's vision and the ideas of other philosophers, some of whom listened to Husserl but went their own ways. The second direction taken is represented in a series of current works by active phenomenol- ogists. Some of these essays - and here we have the greatest concentra- tion on a single theme - expand upon Husserl's analyses concerning the temporality of human experience. Other essays take up the threads of long-standing debates among Husserl scholars. I will treat each group of essays - on other philosophers, on time, and on topics other than time in turn, although the essays do not follow this order in the volume. (shrink)

Language for God explores the ways language and images influence who we are and how we live. It declares the necessity of language and images for God that are expansive and inclusive of all genders. Lutheran perspectives are used as a compass to offer scriptural, theological, and historical insights to advance the reformation of Christian language.

This 1997 book was the first English translation of all of Kant's writings on moral and political philosophy collected in a single volume. No other collection competes with the comprehensiveness of this one. As well as Kant's most famous moral and political writings, the Groundwork of the Metaphysics of Morals, the Critique of Practical Reason, the Metaphysics of Morals, and Toward Perpetual Peace, the volume includes shorter essays and reviews, some of which have never been translated before. The volume has (...) been furnished with a substantial editorial apparatus including translator's introductions and explanatory notes to each text by Mary Gregor, and a general introduction to Kant's moral and political philosophy by Allen Wood. There is also an English-German and German-English glossary of key terms. (shrink)

This 1997 book was the first English translation of all of Kant's writings on moral and political philosophy collected in a single volume. No other collection competes with the comprehensiveness of this one. As well as Kant's most famous moral and political writings, the Groundwork of the Metaphysics of Morals, the Critique of Practical Reason, the Metaphysics of Morals, and Toward Perpetual Peace, the volume includes shorter essays and reviews, some of which have never been translated before. The volume has (...) been furnished with a substantial editorial apparatus including translator's introductions and explanatory notes to each text by Mary Gregor, and a general introduction to Kant's moral and political philosophy by Allen Wood. There is also an English-German and German-English glossary of key terms. (shrink)

ALTHOUGH the content of Alexander Gottlieb Baumgarten's Aesthetica seems to be familiar in German philosophical circles, it is relatively unknown outside Germany. Most of us are aware that it was Baumgarten who coined the name "aesthetics" for the new philosophical discipline his Aesthetica was intended to establish; but as for the content of that work, our acquaintance is likely to be indirect, through two remarks of Kant. Explaining his own use of "Transcendental Aesthetic" in the Critique of Pure Reason, Kant (...) criticizes Baumgarten's "abortive attempt... to bring the critical treatment of the beautiful under rational principles and so to raise its rules to the rank of a science". In the Critique of Judgment, it is generally assumed to be Baumgarten Kant has in mind when, arguing that judgments of beauty are not cognitive or "logical" judgments, he criticizes the view that beauty is perfection known confusedly or indistinctly. Combining Kant's remark with Leibniz's view that beauty is--or, more precisely, flows from--perfection, we might conclude that Baumgarten simply lowered beauty from the level of distinct to that of confused concepts and tried to deduce its rules from the concept of perfection. If this was indeed Baumgarten's project, we might well ask to be excused from pursuing the subject further. (shrink)

This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts.It offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life.

This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts.It offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life.

The Metaphysics of Morals is Kant's major work in applied moral philosophy in which he deals with the basic principles of rights and of virtues. It comprises two parts: the 'Doctrine of Right', which deals with the rights which people have or can acquire, and the 'Doctrine of Virtue', which deals with the virtues they ought to acquire. Mary Gregor's translation, revised for publication in the Cambridge Texts in the History of Philosophy series, is the only complete translation of (...) the whole text, and includes extensive annotation on Kant's difficult and sometimes unfamiliar vocabulary. A new introduction by Roger Sullivan sets the work in its historical and philosophical context. This volume will be of wide interest to students of ethics and of legal and political philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity of Langer's philosophy (...) as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity of Langer's philosophy (...) as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

The Metaphysics of Morals is Kant's major work in applied moral philosophy in which he deals with the basic principles of rights and of virtues. It comprises two parts: the 'Doctrine of Right', which deals with the rights which people have or can acquire, and the 'Doctrine of Virtue', which deals with the virtues they ought to acquire. Mary Gregor's translation, revised for publication in the Cambridge Texts in the History of Philosophy series, is the only complete translation of (...) the whole text, and includes extensive annotation on Kant's difficult and sometimes unfamiliar vocabulary. A new introduction by Roger Sullivan sets the work in its historical and philosophical context. This volume will be of wide interest to students of ethics and of legal and political philosophy. (shrink)

It has been known for 20 years that the ribosomal protein S6 is rapidly phosphorylated when cells are stimulated to grow or divide. Furthermore, numerous studies have documented that there is a strong correlation between increases in S6 phosphorylation and protein synthesis, leading to the idea that S6 phosphorylation is involved in up‐regulating translation. In an attempt to define a mechanism by which S6 phosphorylation exerts translational control, other studies have focused on characterizing the sites of phosphorylation of this protein (...) and its location within the ribosome. Recent data show that S6 is a protein which may have diverse cellular functions and is essential for normal development, and that it may be involved in the translational regulation of a specific class of messages. (shrink)

Conspicuous in the Old Testament is the literary genre of blessing that is often construed in poetic forms. They are of various types and were significant to their initial audience. A careful analysis of their texts and contexts is indispensable for a correct understanding of their message. Conversely, in our times, these texts and their contents are misinterpreted for some subjective goals, which deviate greatly from what one can perceive as their original meaning and intention. Misinterpretation and incorrect application of (...) Biblical texts of blessings thrive in a society like ours where ills are perpetrated under the guise of religion. The text of Genesis 27:27–29, carefully inserted in the patriarchal narratives, contains a type of OT blessings portraying parents’ wishful desires for their offspring; this is common to all human cultures. It is chosen as a springboard for the study of other parental blessings in the OT. Employing a literary analysis with particular attention to the functions of poetic devices in the text, the study aimed at understanding the message contained therein and its relevance to our contemporary society. (shrink)

The church shares in Christ’s mission of bringing all to the knowledge of God and to salvation. All its members are called to this intrinsic mission bequeathed to the entire church. The lay faithful form the greatest number of the members and their functions are important in this mission. However, they are beset by numerous setbacks that constitute untold challenges for the church. This article, written from a sub-Saharan African and Catholic background, examines the nature of this mission as a (...) requisite prelude to discussion on various challenges experienced by the laity in participating fully in the mission. It also recommends ways of enhancing their contributions.Contribution: The primary contribution of this article is its specific focus on the challenges the laity encounter in carrying out their mission in the world. It is a theological study based on scriptural foundations of the laity in the church. As members, laypersons share fully in the church’s received mission mandate. (shrink)

In this essay, the structure and content of theiones, a mid-thirteenthcentury collection of sophismata ascribed to a ‘Magister Ricardus’, are described. It is then argued that the text of the Abstractiones itself together with its “descendant” works present us with a case of textual evolution: the main text appears itself to be the result of patchwork and development, with each manuscript in effect a variation of the work; the descendant works continue the job of modifying the text, now so selectively (...) and radically that they can no longer be described as versions of the Abstractiones itself. (shrink)

This essay explores the implications of a commonly held ancient and medieval belief that human memory and invention are, if not exactly the same, the closest thing to it. In order to create, in order to think at all, human beings require both a well-provisioned stock of memory-held knowledge and some mental tool or machine, an engine which lives in the intricate networks of their own memories. In the verbal arts of the trivium students learned the basic principles of memory (...) training: the need for divisio, the need to make a clear, distinct location for each piece of memorized content, and the need to mark items uniquely for secure recollection. Frequently these mental structures took the form of images. Evidence for such memorial and compositional images is common: I focus on a few representative types, including the sermon-related “Cherub” figure of the later Middle Ages, and accounts by Cassiodorus and others of scholars, even when blind, using their highly structured memories to compose new work. (shrink)

The Critique of Practical Reason is the second of Kant's three Critiques, one of his three major treatises on moral theory, and a seminal text in the history of moral philosophy. Originally published three years after his Groundwork of the Metaphysics of Morals, the Critique provides further elaboration of the basic themes of Kant's moral theory, gives the most complete statement of his highly original theory of freedom of the will, and develops his practical metaphysics. This revised edition of Kant's (...) Critique of Practical Reason - which contains Mary Gregor's acclaimed translation - is now the authoritative translation of this work. A substantial and lucid introduction by Andrews Reath places the mains themes of the Critique in the context of Kant's moral theory and his critical system. For this edition, the introduction has been revised and the guide to the secondary reading completely updated. (shrink)

In a time of rapid technological and social change, business organizations must help their employees develop a new appreciation of how social and ethical values are being shaped and challenged by evolving information technologies. Many ethical and social conflicts have arisen around the advanced information technology used today. The emerging technologies continue to create situations not previously encountered. There are numerous risks facing corporations involved in the use of computing technology. Leaders of organizations looking ahead to assess the impact of (...) technological changes can try to prepare their employees for the future. This paper addresses the urgent need for individuals in corporations to become more knowledgeable about computing technologies and their impact. (shrink)

The Critique of Practical Reason is the second of Kant's three Critiques, one of his three major treatises on moral theory, and a seminal text in the history of moral philosophy. Originally published three years after his Groundwork to the Metaphysics of Morals, the Critique provides further elaboration of the basic themes of Kant's moral theory, gives the most complete statement of his highly original theory of freedom of the will, and develops his practical metaphysics. This new edition of Kant's (...) Critique of Practical Reason – prepared by an acclaimed translator and scholar of Kant's practical philosophy – presents the first new translation of this work to appear for some years. A substantial and lucid introduction by Andrews Reath places the main themes of the Critique in the context of Kant's moral theory and his critical system. (shrink)

The Critique of Practical Reason is the second of Kant's three Critiques, one of his three major treatises on moral theory, and a seminal text in the history of moral philosophy. Originally published three years after his Groundwork to the Metaphysics of Morals, the Critique provides further elaboration of the basic themes of Kant's moral theory, gives the most complete statement of his highly original theory of freedom of the will, and develops his practical metaphysics. This new edition of Kant's (...) Critique of Practical Reason – prepared by an acclaimed translator and scholar of Kant's practical philosophy – presents the first new translation of this work to appear for some years. A substantial and lucid introduction by Andrews Reath places the main themes of the Critique in the context of Kant's moral theory and his critical system. (shrink)

Since the theme of this issue is ‘back to the future,’ especially to the ways in which information formats before the age of printing anticipate and perhaps even may give some guidance to principles of organization and cognitive layouts for the ‘new’ science of information design, I am going to focus in my presentation on the design of memory storage, as it was taught and practiced in the Middle Ages. It is important to recognize that ‘memory-art’ accompanied every aspect of (...) education in the ancient trivium, though different aspects and capacities of human memory were emphasized as appropriate to its various disciplines. What is commonly now taken to be ‘the art of memory,’ namely the advice to link powerful images of ‘content’ (imagines rerum) together in dramatic scenes conceived within a mental location (locus) (as described most completely in the early first century B.C. Rhetorica ad Herennium) is not a universal technique but specifically a device of Rhetoric, and thus of composition. There is also an ‘art of memory’ associated with Dialectic, and this is the device of the ‘topics’ or ‘seats’ (topoi) of argument, syllogism and enthymeme arranged in an orderly schematic of specific mental ‘places.’ Aristotle expounded this scheme as a variety of mnemonic art in his treatise Peri Topoi, and in turn it was further disseminated to later antiquity and the Middle Ages in works by Cicero and Boethius. (shrink)