A British historian might be excused for looking slightly askance at any collection of recent books relating to the philosophy of history. This is because we have been told, several times over and by distinguished members of the profession, that such speculative and analytic activity has little, if anything, to do with the actual business of historiography. One of the most forthright warnings was delivered on the very first page of Professor G. R. Elton's The Practice of History (1967), when (...) we were advised that: ‘Every new number of History and Theory is liable to contain yet another article struggling to give history a philosophic base, and some of them are interesting. But they do not, I fear, advance the writing of history’. For Elton, therefore, there could be little point in granting his colleague in another discipline the right to assess the cognitive claims of historiography. The historian himself, and he alone, was qualified to determine, for all practical purposes, the aims and applications of historical method. It was left to the late Arnold Toynbee to diagnose (in Toynbee on Toynbee, 1974) the dangers in this protectionist approach. He claimed that Elton was ‘trying deliberately to create a closed circuit of “professional” historians’ which was, in his opinion, ‘fatal to any form of study’. But of course Toynbee's own lack of standing within the historical profession could be put forward as a telling index of the dangers of transgressing the barriers between history and philosophy. (shrink)

This article considers the concept of the utopia from the point of view of garden design. It begins with an evocation of the `Jardin de Julie', the literary garden described in Rousseau and acutely analysed by Louis Marin. It then passes to a series of actual gardens created by the French contemporary designer Bernard Lassus, in which the use of landscape effects is seen as achieving similar dislocations of space and incitements to the imagination.

Jean-Louis Schefer's study takes as its point of departure Uccello's predella, Profanation of the Host. The painting in question has generally been interpreted within the context of medieval anti-Semitism. However, Schefer argues that the meaning of the work, and of numerous other representations of this particular miracle, must be referred ultimately to the codification by Charlemagne of the dogma of the Real Presence. Uccello's painting in effect makes manifest the requirement that the profaned host should reveal its nature through the (...) gushing of blood. This also involves a political significance, since the Carolingian theology organized around the consecrated host stands in direct opposition to the Byzantine theology of the icon. Schefer's argument leads him to make a thorough investigation not only of the many iconographic precedents, but also of some key Latin texts such as the Libri Carolini, which are published in a French translation. It also advances a methodology that is strikingly at variance with some of the more simple-minded attempts of historians to crack the codes of a complex visual tradition. One of its most original aspects is the new light that the overall thesis casts upon extremely well-known texts like The Merchant of Venice and Dracula. Thus the tendency to identify vampirism as an East European phenomenon, already discernible in Western sources in the eighteenth century, is shown to be closely linked to the historical extension of the myth of Profanation of the Host. In exploring the outcomes of this doctrinal split between East and West, Schefer has identified a deep fault-line in post-antique European history whose consequences are far from being understood at the present day. (shrink)

The historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the 'period eye' offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, where (...) such representations of history could be experienced as a collective 'dream-work', in Freud's sense. In France, this new pictorial language dates back to the aftermath of the Revolution, and the activities of the 'Lyon School'. Two artists, Richard and Révoil, were its leading proponents. However their initial closeness has obscured the differences in their approach to the past. Substituting for Freud's 'condensation' and 'displacement' the concepts of 'Resurrection' and 'Restoration', I analyse the pictorial language of the two painters, taking two works as examples. The conclusion is that Révoil, also a collector, was a precursor of the historical museum, which convinces through accumulating objects. Richard, however, employs technical and rhetorical devices to evoke empathetic reactions, and anticipates the illusionism of cinema. (shrink)

Goya's and Manet's painted images, and Jean Renoir's cinematic image of historical executions have the power under the ideology of the image to reveal the truth of a moment outside of historical narrative. At the same time, these images are pulled back into the narrative from which they have been removed. The works of these three artists can be used to trace changes in the relationship of the image to historical narrative and its connection to photography and cinema. Goya, working (...) in the early nineteenth century, uses the power of the scopic drive in a strategy which can be called the "witness effect." He deploys the traditional codes of post- Renaissance art in his composition, leading to a detemporalization of his image. Fifty years later, Manet's scene of execution includes an element outside the domain of codes, an element not symbolic, but indexical-the smoke coming out of the soldiers'gun barrels. The conception of the smoke as a sign of actuality is made possible by the invention of photography, which asks of the historical narrative, "Could such a fact, as it is narrated, have been photographed?" The third scene of execution, a still from a history film, is in a state of narrative nonexistence. The execution will be thwarted as the film continues. Renoir accommodates the historical imagination through allowing the image to assert both its presence and its absence. He articulates the gap between the reality and theatricality of visual representations of history. (shrink)

This paper takes as its point of departure Roland Barthes’s proposition in La Chambre claire that the nineteenth century “invented History and Photography,” that the era of photography is one of revolutions, and that the photograph’s “testimony” has diminished our capacity to think in terms of “duration.” Barthes also asserts that the French photographer Nadar is “the greatest photographer in the world,” but takes no account of Nadar’s acute receptivity to the history of the nineteenth century. The paper argues that, (...) though he fully recognized the unique properties of the new medium, Nadar himself was overridingly preoccupied with assessing photography’s role in a period when war and revolution were compromising the onward march of social and economic progress. Throughout his life, he was committed to the progressive ideas that he assimilated while growing up in Paris and Lyon in the 1830s. He wrote of the emergence of a Bohemian culture in the Latin Quarter of Paris, and remained keenly aware of the visual impressions that he had received in his youth from the popular lithographs of the pre-photographic era. He became a supporter of the artistic avant-garde, which led him to purchase important work by the landscape painter Daubigny. In his art criticism, he excoriated the later portraits of Ingres, which might have competed with his own reputation as a photographic portraitist. Yet, in his admiration for Delacroix, he emphasized the lengthy initiation necessary for the appreciation of the master’s paintings, implying a direct contrast with the “instantaneity” of the photographic process. By common consent, the period of Nadar’s great success as a portraitist, which secured his posthumous fame, occupied a short phase in his career as a whole. But his writings show that it was his lively intuition of the wider ramifications of photography that impelled him to move on—experimenting successfully with the first aerial photographs and documenting the catacombs of Paris with the aid of magnesium lighting. Though he could never experience television, he left a narrative in which the feasibility of transmitting images over a distance was presented as being startlingly realistic. In short, Nadar’s published work can be viewed as a sustained meditation on the interaction of historical experience and the media, which not only records but anticipates photography’s impact within the wider framework of visual culture. (shrink)

A Brief History of Time: From the Big Bang to Black Holes is a popular-science book on cosmology (the study of the origin and evolution of the universe) by British physicist Stephen Hawking. It was first published in 1988. Hawking wrote the book for readers who have no prior knowledge of the universe and people who are interested in learning.

A comprehensive reassessment of the concept of mimesis in the history of ancient Greek aesthetics and philosophy of art, with particular attention to Plato, Aristotle, Hellenistic philosophy, and neoplatonism. There is also a wide-ranging review of arguments pro and contra the idea of artistic mimesis from the Renaissance to modern literar theory. The book challenges standard accounts in numerous respects and builds a new dialectical model with which to make sense of the entire history of mimeticist thinking in aesthetics.

Aboutness has been studied from any number of angles. Brentano made it the defining feature of the mental. Phenomenologists try to pin down the aboutness-features of particular mental states. Materialists sometimes claim to have grounded aboutness in natural regularities. Attempts have even been made, in library science and information theory, to operationalize the notion. But it has played no real role in philosophical semantics. This is surprising; sentences have aboutness-properties if anything does. Aboutness is the first book to examine through (...) a philosophical lens the role of subject matter in meaning. A long-standing tradition sees meaning as truth-conditions, to be specified by listing the scenarios in which a sentence is true. Nothing is said about the principle of selection--about what in a scenario gets it onto the list. Subject matter is the missing link here. A sentence is true because of how matters stand where its subject matter is concerned. Stephen Yablo maintains that this is not just a feature of subject matter, but its essence. One indicates what a sentence is about by mapping out logical space according to its changing ways of being true or false. The notion of content that results--directed content--is brought to bear on a range of philosophical topics, including ontology, verisimilitude, knowledge, loose talk, assertive content, and philosophical methodology. Written by one of today's leading philosophers, Aboutness represents a major advance in semantics and the philosophy of language. (shrink)

In Return to Reason, Stephen Toulmin argues that the potential for reason to improve our lives has been hampered by a serious imbalance in our pursuit of ...

Stephen Hetherington's prominent career within epistemology has been a series of distinctive, bold, varied and provocative arguments and ideas. Bringing together Hetherington's unique body of writing for the first time, this collection features previously published as well as new material that link his approaches to key issues including knowledge, justification, fallibility, scepticism and the Gettier Problem. Advancing our understanding of the systemic nature of Hetherington's thinking, Stephen Hetherington on Epistemology presents his distinctive perspective on some of philosophy's central (...) questions about knowledge - an inviting blend of forensic detail and 'big picture' proposals. (shrink)

Defenders of pragmatic encroachment in epistemology (or what I call practicalism) need to address two main problems. First, the view seems to imply, absurdly, that knowledge can come and go quite easily—in particular, that it might come and go along with our variable practical interests. We can call this the stability problem. Second, there seems to be no fully satisfying way of explaining whose practical interests matter. We can call this the “whose stakes?” problem. I argue that both problems can (...) be addressed in roughly the same terms. More exactly, I argue that by first clarifying the whose stakes? problem an answer to the stability problem naturally falls out. (shrink)

Elizabeth Anscombe famously argued that "modern moral philosophy" centrally involved unsupported notions of obligation and culpability. Modern Moral Philosophy: From Grotius to Kant exhibits, for the first time, resources that modern moral philosophers had to respond to Anscombe's challenge, also enhancing our own philosophical grasp of morality and its foundations.

Can hybridism about moral claims be made to work? I argue it can if we accept the conventional implicature approach developed in Barker (Analysis 2000). However, this kind of hybrid expressivism is only acceptable if we can make sense of conventional implicature, the kind of meaning carried by operators like ‘even’, ‘but’, etc. Conventional implictures are a form of pragmatic presupposition, which involves an unsaid mode of delivery of content. I argue that we can make sense of conventional implicatures, but (...) doing so requires we embrace a form of pure, non-hybrid expressivism. This is a cognitivist expressivism I have developed elsewhere. We need cognitivist expressivism to make sense of how we evaluate—judge as correct or incorrect—implicature-bearing sentences. Once we embraced the possibility of this pure expressivism, we might as well be pure expressivists about normative discourse too. I show how we can do that. The motivations for a specifically hybrid theory are dialectically undercut. (shrink)

In this paper I elucidate various ways in which understanding can be seen as an excellence of the mind or intellectual virtue. Along the way, I take up the neglected issue of what it might mean to be an “understanding person”—by which I mean not a person who understands a number of things about the natural world, but a person who steers clear of things like judgmentalism in her evaluation of other people, and thus is better able to take up (...) different perspectives and view them with a sympathetic eye. Being an understanding person in this sense seems to be a character-level virtue that interestingly combines moral and epistemic elements; it also seems to be a virtue particularly needed in our age of deep political division, where it is commonly said that failures of mutual understanding are partly to blame for this problem. (shrink)

Keith Augustine’s critical evaluation of the essay contest sponsored by the Bigelow Institute of Consciousness Studies (BICS) is an interesting but problematic review. It mixes reasonable and detailed criticisms of the contest and many of the winning essays with a disappointing reliance on some of the most trite and superficial criticisms of parapsychological research. Ironically, Augustine criticizes the winning essays for using straw-man arguments and cherry-picked evidence even though many of his own arguments commit these same errors.

Many experimental philosophers are philosophers by training and professional affiliation, but some best work in experimental philosophy has been done by people who do not have advanced degrees in philosophy and do not teach in philosophy departments. This chapter explains that the experimental philosophy is the empirical investigation of philosophical intuitions, the factors that affect them, and the psychological and neurological mechanisms that underlie them. It explores what are philosophical intuitions, and why do experimental philosophers want to study them using (...) the methods of empirical science. The positive program in experimental philosophy shares the goal of the substantial part of traditional philosophy that is concerned with the analysis of important philosophical concepts. The negative program has implications for philosophical projects whose goal is conceptual analysis. There have been a number of responses to the challenge posed by experimental philosophy's negative program. The chapter also focuses on the expertise defense. (shrink)

The book's significance is two-fold: it argues for a new stage in the development of contemporary Confucian philosophy, and it demonstrates the value to Western ...

Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing (...) so? Has art completed the mission that guided its earlier historical development, and if so, what is to become of it now? Should architecture be classified as an art form? -/- Part II turns to the interpretation and appreciation of art. What is the target and purpose of the critic's interpretation? Is interpretation primarily directed at uncovering artists' intended meanings? Can apparently contradictory interpretations of a given piece both be true? Are interpretative evaluations entailed by descriptions of a work's aesthetic and artistic characteristics? In addition to providing fresh answers to these and other central questions in aesthetics, Davies considers the nature and content of metaphor, and the relation between the expressive qualities of a work of art and the emotions of its creator. (shrink)

In this article, from the 2009 Oxford University Press collection Epistemic Value, I criticize existing accounts of epistemic normativity by Alston, Goldman, and Sosa, and then offer a new view.

Why is there anything, rather than nothing at all? This question often serves as a debating tactic used by theists to attack naturalism. Many people apparently regard the question—couched in such stark, general terms—as too profound for natural science to answer. It is unanswerable by science, I argue, not because it’s profound or because science is superficial but because the question, as it stands, is ill-posed and hence has no answer in the first place. In any form in which it (...) is well-posed, it has an answer that naturalism can in principle provide. The question therefore gives the foes of naturalism none of the ammunition that many on both sides of the debate think it does. (shrink)

In November 2022, OpenAI released ChatGPT, an incredibly sophisticated chatbot. Its capability is astonishing: as well as conversing with human interlocutors, it can answer questions about history, explain almost anything you might think to ask it, and write poetry. This level of achievement has provoked interest in questions about whether a chatbot might have something similar to human intelligence or even consciousness. Given that the function of a chatbot is to process linguistic input and produce linguistic output, we consider the (...) question whether a sophisticated chatbot might have inner speech. That is: Might it talk to itself, internally? We explored this via a conversation with ‘Playground’, a chatbot which is very similar to ChatGPT but more flexible in certain respects. We asked it questions which, plausibly, can only be answered if one first produces some inner speech. Here, we present our findings and discuss their philosophical significance. (shrink)

The long human odyssey of self-discovery has reached a crucial stage: everything we do affects everyone and everything else - and we know it. The next hundred years will bring more change than we can easily imagine: more opportunities for more people to achieve the fulfilment of a good life, and more risks that could result in catastrophic harm to the entire planet.Viewed geopolitically, the main question is whether the world-views of the world's most important and influential powers - China (...) and America (the one fundamentally Confucian, the other essentially individualist) - can be made to work together constructively.At the same time, on a deeper level, the even greater question is how the irreversible fact of urbanisation may nurture healthy and mature human individuality, such that the accumulated wisdom of the world's great cultures becomes mutually transforming and enriching.This bold and wide-ranging book explores those questions, with all the risks and opportunities they hold for generations still to com"--Publisher information. (shrink)

The field of modern day bioethics is relatively young and continues to constantly evolve in parallel with the ever increasingly complex nature of contemporary medical practice. These advances present clinicians with an array of therapeutic options that would have not seemed possible only a generation ago. Given these medical advances and the expansion of the academic and medicolegal field of bioethics, one would have thought that clinical decision making would have become easier. However paradoxically this has not proved to be (...) the case. Each advance may provide an answer to a particular clinical question which is almost immediately replaced by a whole new set of ethical problems that require consideration. (shrink)