The first edition of ELL (1993, Ron Asher, Editor) was hailed as "the field's standard reference work for a generation". Now the all-new second edition matches ELL's comprehensiveness and high quality, expanded for a new generation, while being the first encyclopedia to really exploit the multimedia potential of linguistics. * The most authoritative, up-to-date, comprehensive, and international reference source in its field * An entirely new work, with new editors, new authors, new topics and newly commissioned articles with a handful (...) of classic articles * The first Encyclopedia to exploit the multimedia potential of linguistics through the online edition * Ground-breaking and International in scope and approach * Alphabetically arranged with extensive cross-referencing * Available in print and online, priced separately. The online version will include updates as subjects develop ELL2 includes: * c. 7,500,000 words * c. 11,000 pages * c. 3,000 articles * c. 1,500 figures: 130 halftones and 150 colour * Supplementary audio, video and text files online * c. 3,500 glossary definitions * c. 39,000 references * Extensive list of commonly used abbreviations * List of languages of the world (including information on no. of speakers, language family, etc.) * Approximately 700 biographical entries (now includes contemporary linguists) * 200 language maps in print and online Also available online via ScienceDirect - featuring extensive browsing, searching, and internal cross-referencing between articles in the work, plus dynamic linking to journal articles and abstract databases, making navigation flexible and easy. For more information, pricing options and availability visit www.info.sciencedirect.com. The first Encyclopedia to exploit the multimedia potential of linguistics Ground-breaking in scope - wider than any predecessor An invaluable resource for researchers, academics, students and professionals in the fields of: linguistics, anthropology, education, psychology, language acquisition, language pathology, cognitive science, sociology, the law, the media, medicine & computer science. The most authoritative, up-to-date, comprehensive, and international reference source in its field. (shrink)

This reference work aims describes all aspects of the study of meaning in language. It synthesises the latest scholarly positions on the construction, interpretation, clarification, obscurity, illustration, amplification, simplification, negotiation, contradiction, contraction and paraphrasing of meaning.

An explanation of the system of textual references employed in this paper may perhaps be of convenience to the reader. As a rule, references to other works have here been incorporated in the main body of the text, with the aid of abbreviations usually derived from the initial letters of the main words in their titles. Thus "HLL, p. 21." refers to page twenty-one of Thomas Hobbes: Leben and Lehre, by F. Tonnies.

Much philosophical attention has been devoted to “The Land Ethic,” especially by Anglo-American philosophers, but little has been paid to A Sand County Almanac as a whole. Read through the lens of continental philosophy, A Sand County Almanac promulgates an evolutionary-ecological world view and effects a personal self- and a species-specific Self-transformation in its audience. It’s author, Aldo Leopold, realizes these aims through descriptive reflection that has something in common with phenomenology-although Leopold was by no stretch of the imagination a (...) phenomenologist. Consideration of human-animal intersubjectivity, thematized in A Sand County Almanac, brings to light the moral problem of hunting and killing animal subjects. Leopold does not confront that problem, but it is confronted and resolved by Jose Ortega y Gassett, Henry Beston, and Paul Shepard in terms of an appropriate human relationship with wild-animal Others. Comparison with the genuinely Other-based Leopold-Ortega-Beston-Shepard wild-animal ethic shows the purportedly Other-based humanand possibly animal ethic of Emmanuel Levinas actually to be Same-based after all. (shrink)

This monograph represents the first comprehensive study dedicated to the interdisciplinary French philosopher Michel Serres. As the title of this project unequivocally suggests, Serres s prolific body of work paints a rending portrait of what it means for a sentient being to live in the modern world. This book reflects Serres s profound conviction that philosopher c est anticiper / to philosophize (about something) is to anticipate ( Philosophie Magazine ). According to Serres, a philosopher is someone who possesses an (...) extremely broad base of knowledge coupled with the uncanny ability to envision what "might" transpire based upon his or her astute observations concerning phenomena that are already starting to unfold in a given society. Serres s explanation of what engaging in philosophical inquiry entails encourages us to imagine all of the present and future ramifications of certain trajectories that are clearly visible all around us. From 1968 to the present, Serres has been generating forceful, prophetic visions in his works that mingle philosophy, religion, theology, contemporary science, and literature. Comprehensive and insightful introduction both illuminates pressing contemporary issues and presages potential futures-to-come. This is a remarkable achievement and a genuine gift to readers both new and old to Serres s work. -Steven D. Brown, Professor of Psychology, University of Leicester An essential book for becoming aware of the threat of a return of obscurantism despite the development of new technologies and of the necessity of a new century of "Lumieres." -Issa Asgarally, Associate Professor, Mauritius Institute of Education, founder, Foundation for Interculturality and Peace Moser s engaging prose makes this study a great read, and he demonstrates a formidable grasp on the connections within Serres work, as well as the links between Serres and other major twentieth century thinkers. -Tom Trzyna, Professor Emeritus of English, Seattle Pacific University Both timely and thorough. His provocative critique of societal malaise, from our relationship to the planet, to ourselves, to each other, and to technology, as well as the solutions envisioned through an erudite and thoughtful analysis of Serres entire philosophical corpus is a remarkable contribution to Philosophy and French Studies. -Isaac Joslin, University of Denver Keith Moser s pioneering vision of the post-Marxist era, as reflected in the syncretism of philosophy, religion, theology, science and literature in Michel Serres body of work during the last half a century, transforms human consciousness beyond its illusory genophobia that has damaged the very semiotics of life. Moser s monograph taps into a tremendous flow of energy that evokes a passionate desire in a dead humanity to re-live and re-think. -Professor Ananta Sukla, Editor, Journal of Comparative Literature and Aesthetics Keith Moser is Associate Professor of French at Mississippi State University. He is the author of "A Practical Guide to French Harki Literature, J.M.G. Le Clezio: A Concerned Citizen of the Global Village, Le Clezio dans la foret des paradoxes" (co-editor), and "Privileged Moments in the Novels and Short Stories of Le Clezio: His Contemporary Development of a Traditional French Literary Device." Moser has also contributed approximately forty essays to peer-reviewed publications such as "The French Review, The International Journal of Francophone Studies, Romance Notes, Dalhousie French Studies, Les Cahiers Le Clezio, Modern Language Review, French Cultural Studies, Forum for Modern Language Studies" (Oxford), "Interdisciplinary Studies in Literature and Environment" (Oxford), and "Pennsylvania Literary Journal."". (shrink)

This essay reviews two recent books commenting on, and contributing to, the “science wars.” In Who Rules in Science? James Robert Brown respectfully but firmly rejects the “nihilist” and the “naturalist” wings of social constructivism. He rejects attempts to debunk science in the name of a relativist or anarchist epistemology. He also criticizes the “strong programme” in the sociology of knowledge and its implied contrast between reasons and causes. In Prometheus Bedeviled Norman Levitt examines the cultural roots of current (...) discontent with science. Levitt's analysis—and polemic—charges contemporary culture with a pervasive cheapening of intellectual standards. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet (...) bells with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

This volume brings together a collection of new essays by leading scholars on the subject of causation in the early modern period, from Descartes to Lady Mary Shepherd. Aimed at researchers, graduate students and advanced undergraduates, the volume advances the understanding of early modern discussions of causation, and situates these discussions in the wider context of early modern philosophy and science. Specifically, the volume contains essays on key early modern thinkers, such as Descartes, Hobbes, Spinoza, Leibniz, Hume, Kant. It also (...) contains essays that examine the important contributions to the causation debate of less widely discussed figures, including Louis la Forge, Thomas Brown and Lady Mary Shepherd. (shrink)

‘The issues surrounding Orestes’ purification are some of the most difficult in all of Aeschylus’ wrote A. L. Brown in 1982. Despite the appearance since then of an overall treatment of pollution and three editions of the play, there continue to be disagreements about the matter. In this paper I suggest that we may be better able to understand the treatment of purification if we focus on the importance of Orestes’ pollution to the particular version of the story constructed (...) in Eumenides. (shrink)

This essay reviews two recent books commenting on, and contributing to, the “science wars.” In Who Rules in Science? James Robert Brown respectfully but firmly rejects the “nihilist” and the “naturalist” wings of social constructivism. He rejects attempts to debunk science in the name of a relativist or anarchist epistemology. He also criticizes the “strong programme” in the sociology of knowledge and its implied contrast between reasons and causes. In Prometheus Bedeviled Norman Levitt examines the cultural roots of current (...) discontent with science. Levitt's analysis—and polemic—charges contemporary culture with a pervasive cheapening of intellectual standards. (shrink)

Columbus and Galileo are usually considered the prime revolutionaries whose discoveries in the physical world brought on the spiritual revolution in modern life, but during the first full century of the modern world another discoverer was so regarded by Sir Thomas Browne. In the “experiments, grounds, and causes,” of the compass needle, he said, Dr. William Gilbert “discovered more in it than Columbus or Americus ever did by it.” Like Columbus, Gilbert made his discovery unwittingly. The navigator had been in (...) search of Asia when he found a new continent; the doctor in seeking a reason for magnetic action led men's attention to reasoning on a new theory of Matter. Through his magnetical researches, the old logical conception of a continuous, soul-animated matter held by the conservative doctors and alchemists was discredited. The discoveries of all three, Columbus, Galileo, and Gilbert, were in many ways interrelated, and of course no single mind released the curiosities of the modern world unaided. What the scientists had to find out in their own laboratories and their own reasoning was persuasive evidence that matter is divorced from spirit, and for a time in the seventeenth century some of the fundamental hypotheses which indicated the divorce derived from magnetism. (shrink)

Volume 28, Issue 2, March 2020, Page 420-422.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet (...) bells with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Volume 28, Issue 2, March 2020, Page 420-422.

Contextualism has been hotly debated in recent epistemology and philosophy of language. The Case for Contextualism is a state-of-the-art exposition and defense of the contextualist position, presenting and advancing the most powerful arguments in favor of the view and responding to the most pressing objections facing it.

In A World Not Made for Us, Keith R. Peterson provides a broad reassessment of the field of environmental philosophy, taking a fresh and critical look at three classical problems of environmentalism: the intrinsic value of nature, the need for an ecological worldview, and a new conception of the place of humankind in nature. Peterson makes the case that a genuinely critical environmental philosophy must adopt an ecological materialist conception of the human, a pluralistic value theory that emphasizes the (...) need for value prioritization, and a stratified categorical ontology that affirms the basic principle of human asymmetrical dependence on more-than-human nature. Integrating environmental ethics with the latest work in political ecology, Peterson argues it is important to understanding that the world is not made for us, and that coming to terms with this fact is a condition for survival in future human and more-than-human communities of liberation and solidarity. (shrink)

The recent philosophy of Quantum Bayesianism, or QBism, represents an attempt to solve the traditional puzzles in the foundations of quantum theory by denying the objective reality of the quantum state. Einstein had hoped to remove the spectre of nonlocality in the theory by also assigning an epistemic status to the quantum state, but his version of this doctrine was recently proved to be inconsistent with the predictions of quantum mechanics. In this essay, I present plausibility arguments, old and new, (...) for the reality of the quantum state, and expose what I think are weaknesses in QBism as a philosophy of science. (shrink)

What are hallucinations? A common view in the philosophical literature is that hallucinations are degenerate kinds of perceptual experience. I argue instead that hallucinations are degenerate kinds of sensory imagination. As well as providing a good account of many actual cases of hallucination, the view that hallucination is a kind of imagination represents a promising account of hallucination from the perspective of a disjunctivist theory of perception like naïve realism. This is because it provides a way of giving a positive (...) characterisation of hallucination—rather than characterising hallucinations in negative, relational, terms as mental events that are subjectively indistinguishable from veridical perceptual experiences. (shrink)

This paper applies social-relational models of moral standing of robots to cases where the encounters between the robot and humans are relatively brief. Our analysis spans the spectrum of non-social robots to fully-social robots. We consider cases where the encounters are between a stranger and the robot and do not include its owner or operator. We conclude that the developers of robots that might be encountered by other people when the owner is not present cannot wash their hands of responsibility. (...) They must take care with how they develop the robot’s interface with people and take into account how that interface influences the social relationship between it and people, and, thus, the moral standing of the robot with each person it encounters. Furthermore, we claim that developers have responsibility for the impact social robots have on the quality of human social relationships. (shrink)