A "good" arguer is like an architect with a penchant for civil and civic engineering. Such an arguer can design and present their reasons artfully about a variety of topics, as good architects do with a plenitude of structures and in various environments. Failures in this are rarely hidden for long, as poor constructions reveal themselves, often spectacularly, so collaboration among civical engineers can be seen as a virtue. Our logical virtues should be analogous. When our arguments fail due to (...) being uncivil and demagogic, since we inhabit the arguments we build, we are all crushed beneath our flawed reasoning. This mixed metaphor takes us to a self-referential analysis of argumentation, analogy, and humor. I argue that good argumentation strives to collaboratively convince rather than belligerently persuade. A convincing means toward this end is through humorous analogical arguments, whether the matter at hand is ethical, logical, theological, phenomenological, epistemological, metaphysical, political, or about baseball. (shrink)

What can--and what can't--philosophy do? What are its ethical risks--and its possible rewards? How does it differ from science? In Philosophy as a Humanistic Discipline, Bernard Williams addresses these questions and presents a striking vision of philosophy as fundamentally different from science in its aims and methods even though there is still in philosophy "something that counts as getting it right." Written with his distinctive combination of rigor, imagination, depth, and humanism, the book amply demonstrates why Williams was one (...) of the greatest philosophers of the twentieth century. Spanning his career from his first publication to one of his last lectures, the book's previously unpublished or uncollected essays address metaphysics, epistemology, and ethics, as well as the scope and limits of philosophy itself. The essays are unified by Williams's constant concern that philosophy maintain contact with the human problems that animate it in the first place. As the book's editor, A. W. Moore, writes in his introduction, the title essay is "a kind of manifesto for Williams's conception of his own life's work." It is where he most directly asks "what philosophy can and cannot contribute to the project of making sense of things"--answering that what philosophy can best help make sense of is "being human." Philosophy as a Humanistic Discipline is one of three posthumous books by Williams to be published by Princeton University Press. In the Beginning Was the Deed: Realism and Moralism in Political Argument was published in the fall of 2005. The Sense of the Past: Essays in the History of Philosophy is being published shortly after the present volume. (shrink)

The editor suggested my writing an article on the question whether it was possible to provide an ethics based upon principles which would be agreed to by all enlightened men, and he further suggested that I should begin the article by stating clearly what morality is. That is a somewhat difficult task, because while “morality” might be defined as “living as one ought,” it is a very disputable question whether and how this “ought” is itself to be defined, and I (...) could not undertake to deal with this question by the way as an introduction to an article on something else. It is, however, clear that there is another sense of “ought” besides the strictly moral sense. We do use the term in cases where it does not entail that a man is neglecting his moral duty if he does not do what he “ought.” For instance we say: “You ought to have seen that film,” “You ought not to have made that move,” “You ought to have seen through that argument,” even “Hitler ought to have invaded England after Dunkirk” where we should have regarded it as the reverse of a good thing if he had done what we say he ought. In none of these cases are we asserting a moral obligation. For we do not ordinarily regard people as under a moral obligation to seek their own pleasure, nor to make certain moves in a game, and while we should say that in matters of serious concern a person is morally obliged to do his best to form a true view as to the merits of a relevant argument, we should not say that he was morally obliged actually to form a true view, for this does not depend solely on his will. And in the fourth instance the action is one which we should think morally wrong rather than morally obligatory. What is there in common between “ought” as used in these cases and the moral “ought”? It is that in each case the action fits the situation, either wholly, or with certain limitations, as in the last instance where we presumably mean that to invade England would have fitted in better with Hitler's ends in the given environment than did the policy Hitler actually adopted. (shrink)

The purpose of this paper is to discuss and to relate to each other two topics: the admissibility of ignorance and mistake of fact as defences against negligence in crime; and the inadmissibility of ignorance and mistake of law as defences against criminal charges. I am in not concerned at all with torts negligence, only with criminal offences which can be committed negligently, where negligence suffices for liability, as in the law of homicide. This produces an untidy classification of elements, (...) one or other of which is needed to provide the required mens rea : intention, knowledge, recklessness and negligence. It is untidy, because the last does not belong on the same list as the other three, each of which can appropriately be called a state of mind in what we might say to be a positive sense, for each of them includes some degree of awareness of and/or attitude to relevant facts. If negligence is to be called a state of mind, it is so in a very stretched and negative way: to be told that a person was not attending to, thinking of or noticing something that he should have been is to be given some information, of a negative sort, about his state of mind, but it tells us very little, for it eliminates only one of an unlimited range of states of mind. His not attending, noticing, etc., is equally compatible with his daydreaming and with his concentrating hard on something else. If negligence requires inadvertence, as is commonly maintained, then there was a state of mind which the agent should have been in but was not; if, as I would argue, it does not require inadvertence, then there was a state of mind which the agent should have been in, and maybe he was not in it, maybe he was in it. would not require it; the definition runs, ‘a person is negligent if he fails to exercise such care, skill or foresight as a reasonable man in his situation would exercise’. However, that is only a proposal; at present advertent negligence is rare in criminal law, although common in torts.) On this view, the questions are whether his performance fell below scratch, what are to be the excusing conditions for such a performance, and if the answer to is yes, whether his performance was covered by the excusing conditions. (shrink)

Some mental states seem to be "of" or "about" things, or to "say" something. For example, a thought might represent that grass is green, and a visual experience might represent a blue cup. This is intentionality. The aim of this book is to explain this phenomenon. -/- Once we understand intentionality as a phenomenon to be explained, rather than a posit in a theory explaining something else, we can see that there are glaring empirical and in principle (...) difficulties with currently popular tracking and functional role theories of intentionality, which aim to account for intentionality in terms of tracking relations and functional roles. -/- This book develops an alternative theory, the phenomenal intentionality theory (PIT), on which the source of intentionality is none other than phenomenal consciousness, the subjective, felt, or qualitative aspect of mental life. While PIT avoids the problems that plague tracking and functional role theories, it faces its own challenges in accounting for the rich and complex contents of thoughts and the contents of nonconscious states. In responding to these challenges, this book proposes a novel version of PIT, on which all intentionality is phenomenal intentionality, though we in some sense represent many non-phenomenal contents by ascribing them to ourselves. This book further argues that phenomenal consciousness is an intrinsic feature of mental life, resulting in a view that is radically internalistic in spirit: Our phenomenally represented contents are literally in our heads, and any non-phenomenal contents we in some sense represent are expressly targeted by us. (shrink)

Urban sprawl and aggressive driving are two problems that afflict many of America’s major cities. The two affect Atlanta to a notoriously high degree. The two problems are connected. Aggressive driving is not so much a symptom of “road rage” as it is an attempt to communicate with slower drivers. The aggressive driver tailgates other drivers with the intention of letting them know that they are impeding the flow of faster traffic. Aggressive drivers are engaged in what “New Chicago School” (...) legal theory calls “norm seeding.” These drivers are trying to get others to conform to a different norm than what the posted speed limit dictates. The posted speed limit, which is the legal norm, reflects legislative judgments based on concerns of safety and fuel economy. The higher, informal, speed limit reflects something else: the impatience many drivers feel as they drive larger distances and spend correspondingly greater amounts of time in traffic. (shrink)

I think that to Lord Kelvin is attributed the saying that the scientific attitude to a thing, if you can't do anything else with it, is to measure it. This is the attitude I propose to adopt towards Time . The situation is to some extent analogous to the situation with regard to electricity . Science is unable to say what electricity is, and so it almost denies the word any entrance into a treatise on the subject. It replaces (...) it by the word charge , which is something that can be measured. It is important to avoid hypostatizing time into a thing-in-itself. Instead of trying to say what time is we try to find a way of measuring it. (shrink)

The debate about the relation between science and truth is manifestly epistemological, but latently and fundamentally metaphysical. Popper's theory of verisimilitude provides us with a striking example. According to Popper, science aims at bringing us nearer to 'absolute, objective truth'; the growth of scientific knowledge is seen as a never ending realisation of that ultimate aim. This thesis of verisimilitude can be interpreted in two ways. In the first interpretation the thesis appears as a correct, but formal and even trivial (...) statement. Here the thesis that science aims at bringing us nearer to truth is as unilluminating as the thesis that moral endeavor aims at bringing us nearer to the Moral Good or that artistic endeavor aims at bringing us nearer to Aesthetic Beauty. According to the second interpretation, however, the thesis has a more substantial and metaphysical meaning. Here it consists of three different claims : 1. scientific endeavor points to something which is beyond and actual or humanly possible scientific achievement; 2. it is in this relation with something transcendent that the ultimate purpose of science is to be sought; 3. the relation between actual science and its transcendent should be seen as a part-whole relation, i.e. the transcendent goal should be represented as the ideal of total intelligibility. In this article the first and second claim are accepted; the third is rejected. One should accept the idea (put forward by Einstein ) that science points to a mystery beyond science. One should beware, however, of equating the sense of mystery with an anticipation for yet hidden information, inaccessible to us, but 'quoad se' accessible to reason. Science's transcendent mystery should be viewed in a more radical way. That is to say, the relation between actual science and its transcendent mystery is analogous to the relation between, on the one hand, the information contained in and derivable from a (good) poem and, on the other hand something else which is poetically suggested, yet does not consist in hidden information. What is evoked by poetry and science, is not even in principle translatable in terms of an informative content. Therefore the ultimate goal of science is not the ideal of knowing everything with the clarity and precision of science ; it is rather the awareness of a mystery which does not even exist as the sort of intelligible content scientific theories attempt to mirror. (shrink)

A promise to do some action seems to create a binding obligation to do that action. And yet, paradoxically, an obligation seems not to be a fact that we can create or bring into existence; we can create an obligation only by creating or bringing into existence something else. The only way to avoid the paradox is to show that the act of promising creates something other than an obligation, which nonetheless binds us to perform the action (...) in question. After considering and rejecting various options such as the promisee's expectation and the promisor's resolve, Prichard locates the bindingness of a promise in a prior general promise, which allows the noises we make when promising to generate an obligation to perform the promised action. (shrink)

The purpose of this paper is to discuss and to relate to each other two topics: the admissibility of ignorance and mistake of fact as defences against negligence in crime; and the inadmissibility of ignorance and mistake of law as defences against criminal charges. I am in not concerned at all with torts negligence, only with criminal offences which can be committed negligently, where negligence suffices for liability, as in the law of homicide. This produces an untidy classification of elements, (...) one or other of which is needed to provide the required mens rea : intention, knowledge, recklessness and negligence. It is untidy, because the last does not belong on the same list as the other three, each of which can appropriately be called a state of mind in what we might say to be a positive sense, for each of them includes some degree of awareness of and/or attitude to relevant facts. If negligence is to be called a state of mind, it is so in a very stretched and negative way: to be told that a person was not attending to, thinking of or noticing something that he should have been is to be given some information, of a negative sort, about his state of mind, but it tells us very little, for it eliminates only one of an unlimited range of states of mind. His not attending, noticing, etc., is equally compatible with his daydreaming and with his concentrating hard on something else. If negligence requires inadvertence, as is commonly maintained, then there was a state of mind which the agent should have been in but was not; if, as I would argue, it does not require inadvertence, then there was a state of mind which the agent should have been in, and maybe he was not in it, maybe he was in it. would not require it; the definition runs, ‘a person is negligent if he fails to exercise such care, skill or foresight as a reasonable man in his situation would exercise’. However, that is only a proposal; at present advertent negligence is rare in criminal law, although common in torts.) On this view, the questions are whether his performance fell below scratch, what are to be the excusing conditions for such a performance, and if the answer to is yes, whether his performance was covered by the excusing conditions. (shrink)

: Ronald Dworkin claims that if we are able to control our own biology, "our most settled convictions will . . . be undermined [and] we will be in a kind of moral free-fall." This is so because he takes moral convictions to be determined by the choices we make against a fixed biological background. It would seem that if Confucian ethics is grounded in ren xing (human nature) and if ren xing refers to a fixed biological background, then the (...) Confucian moral agent will be in a state of moral free-fall in the age of biological control—that is, if Dworkin is right. We can try to read ren xing as a creative process rather than a fixed nature, but any such reading inevitably grounds ren xing in something else that is biological. There is a way out for Confucians: the Dworkinian choice/chance distinction that is crucial for morality can be relocated away from the boundary between free choice and fixed biology to the boundary between the choices that we make and the fixed background of tradition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Have We Been Careless with Socrates' Last Words?:A Rereading of the PhaedoLaurel A. Madison (bio)In section 340 of The Gay Science, Nietzsche offers what he believes will be received as a scandalous interpretation of Socrates' last words. "Whether it was death or the poison or piety or malice—something loosened his tongue at that moment and he said: 'O Crito, I owe Asclepius a rooster.' This ridiculous and terrible (...) 'last word' means for those who have ears: 'O Crito, life is a disease.'"1 Nietzsche might be surprised, however, to discover just how many readers "have ears" to hear the pessimism and resentment in Socrates' voice as he bids farewell to his life. Indeed, this interpretation has become standard among both Plato scholars and non-scholars, taking on the air of orthodoxy.2Not only is this "Nietzschean" reading widespread, it also has a significant impact on how we understand Plato's project in general and, ultimately, whether or [End Page 421] not we believe that Plato still has something to teach us. This commonly accepted interpretation reinforces the view that Socrates and Plato were ascetics of the worst kind, hostile to life and the body in particular. As a consequence, significant portions of Plato's thought are treated as woefully unenlightened. Indeed, how can we take seriously the views of such a dualist who denigrates our earthly existence and urges us to deny and repress our passions, instincts, desires, and drives—i.e., to live for death?It is assumed correctly, I think, that Socrates' last words speak volumes about both his and Plato's view of the nature and task of human existence. However, the meaning of these words, I will argue, has been seriously misinterpreted and their intended significance fundamentally obscured. Thus it is time to take another, closer look at what is arguably Socrates' most important statement—a statement uttered with his last breath:Crito, we owe a cock to Asclepius; make this offering to him and do not forget.3How are we, as readers of this dialogue, to interpret Socrates' last words? What is the meaning of his final thought, his dying wish and command? According to the standard reading of this passage, Socrates awaits the termination of his life with gratitude and relief. As death closes in on him, he asks Crito to make an offering to Asclepius, the god of healing. By invoking this god, Socrates appears to be calling attention to the recovery from an illness. But what is the illness and what is the cure? At the moment these words are uttered, Socrates is on the brink of death and it is assumed that he views his death as the cure to the illness of life. This reading is substantiated by an earlier passage where Socrates argues that "the one aim of those who practice philosophy in the proper manner is to practice for dying and death" (64a3-4). The body, Socrates argues, obscures our pursuit of the truth and the sooner we can separate our soul from this hindrance (i.e., in death) the better off we will be, for "as long as we have a body and our soul is fused with such an evil we shall never adequately attain what we desire, which we affirm to be the truth" (66b3-5). From the philosopher's perspective, then, the body is something to "disdain" (, 65d1) and "despise" (, 68c11)—indeed, to "flee" from (, 65d1). Thus given the disparagement of our bodily existence in this earlier passage, how else can we interpret Socrates' final statement?4Because this "Nietzschean" reading of Socrates' last words appears to be based in large part upon the discussion of philosophy as preparation for death, any examination of it must include an analysis of the earlier passage as well.5 However, [End Page 422] to adequately interpret the discussion of philosophy as preparation for death (or any passage in the dialogues, for that matter), we must first place it in its context within the drama of the dialogue, the philosophical significance of which has been argued at length elsewhere.6 Let us then turn to the opening scene of the dialogue, for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Have We Been Careless with Socrates' Last Words?:A Rereading of the PhaedoLaurel A. Madison (bio)In section 340 of The Gay Science, Nietzsche offers what he believes will be received as a scandalous interpretation of Socrates' last words. "Whether it was death or the poison or piety or malice—something loosened his tongue at that moment and he said: 'O Crito, I owe Asclepius a rooster.' This ridiculous and terrible (...) 'last word' means for those who have ears: 'O Crito, life is a disease.'"1 Nietzsche might be surprised, however, to discover just how many readers "have ears" to hear the pessimism and resentment in Socrates' voice as he bids farewell to his life. Indeed, this interpretation has become standard among both Plato scholars and non-scholars, taking on the air of orthodoxy.2Not only is this "Nietzschean" reading widespread, it also has a significant impact on how we understand Plato's project in general and, ultimately, whether or [End Page 421] not we believe that Plato still has something to teach us. This commonly accepted interpretation reinforces the view that Socrates and Plato were ascetics of the worst kind, hostile to life and the body in particular. As a consequence, significant portions of Plato's thought are treated as woefully unenlightened. Indeed, how can we take seriously the views of such a dualist who denigrates our earthly existence and urges us to deny and repress our passions, instincts, desires, and drives—i.e., to live for death?It is assumed correctly, I think, that Socrates' last words speak volumes about both his and Plato's view of the nature and task of human existence. However, the meaning of these words, I will argue, has been seriously misinterpreted and their intended significance fundamentally obscured. Thus it is time to take another, closer look at what is arguably Socrates' most important statement—a statement uttered with his last breath:Crito, we owe a cock to Asclepius; make this offering to him and do not forget.3How are we, as readers of this dialogue, to interpret Socrates' last words? What is the meaning of his final thought, his dying wish and command? According to the standard reading of this passage, Socrates awaits the termination of his life with gratitude and relief. As death closes in on him, he asks Crito to make an offering to Asclepius, the god of healing. By invoking this god, Socrates appears to be calling attention to the recovery from an illness. But what is the illness and what is the cure? At the moment these words are uttered, Socrates is on the brink of death and it is assumed that he views his death as the cure to the illness of life. This reading is substantiated by an earlier passage where Socrates argues that "the one aim of those who practice philosophy in the proper manner is to practice for dying and death" (64a3-4). The body, Socrates argues, obscures our pursuit of the truth and the sooner we can separate our soul from this hindrance (i.e., in death) the better off we will be, for "as long as we have a body and our soul is fused with such an evil we shall never adequately attain what we desire, which we affirm to be the truth" (66b3-5). From the philosopher's perspective, then, the body is something to "disdain" (, 65d1) and "despise" (, 68c11)—indeed, to "flee" from (, 65d1). Thus given the disparagement of our bodily existence in this earlier passage, how else can we interpret Socrates' final statement?4Because this "Nietzschean" reading of Socrates' last words appears to be based in large part upon the discussion of philosophy as preparation for death, any examination of it must include an analysis of the earlier passage as well.5 However, [End Page 422] to adequately interpret the discussion of philosophy as preparation for death (or any passage in the dialogues, for that matter), we must first place it in its context within the drama of the dialogue, the philosophical significance of which has been argued at length elsewhere.6 Let us then turn to the opening scene of the dialogue, for... (shrink)

Contained in this rather short but quite excellent Clarke F. Ansley Award winning work is a skillful presentation of an intriguing thesis: Spinoza’s definition and criterion of truth follows neither the strictly correspondence nor the strictly coherence lines which many commentators have suspected. Rather, says Mark, Spinoza’s doctrine follows the "ontological" view of truth, prevalent in ancient and medieval times. To be true is to be a being, a thing which "is." It is the author’s contention that there are texts (...) which seem to be evidence in favor of interpreting Spinoza’s doctrine along the lines of a correspondence theory, and there are still other texts which seem to betray a kind of family resemblance to the coherence theory of truth. Most commentators, says Mark, have either focused their entire attention on one or the other of these sets of texts, or else pointed out the discrepancy and went on to something else. But what Mark here suggests to us is a rather bold and interesting approach, which, to Mark’s mind, accomplishes the task of facing squarely both sets of texts without compromising either, and without reducing Spinoza to contradiction. (shrink)

In this book Lewis presents the substance of the first series of Gifford Lectures he gave during the period 1966-1968. In sharp contrast to the prevailing views in Anglo-American philosophical circles, this gifted and prolific writer gives a brilliant and persuasive defense of body-mind dualism. In the first three chapters devoted to Ryle, this clever critic makes the creator of the "category-mistake" look like a paradigm of how to fall into it, particularly in his demythologizing of Descartes, in exorcising the (...) "Ghost-in-the-machine," or in searching vainly for volition as an antecedent act rather than an integral component of every concrete purposeful act. Subsequent chapters treat of Hampshire's "New Materialism," Passmore's "Humpty-Dumpty Argument," Malcolm's "Dreaming," Strawson's refutation of the "no-ownership theory," and so on, Each subsequent opponent such as Hirt, Feigl, Smart, etc. come closer in their monism to fingering the "elusive mind," but fail in the last analysis by confusing circumstantial evidence of its presence with what it is in itself, and thus allow it to dissolve, as it were, into something else. Sydney Shoemaker, in Lewis opinion, comes closest to trapping it when he ties it in with the mind's most personal possessions, its memories, yet even he does not go quite far enough. Finally, in chapter nine. Lewis clarifies the logical character of this "elusive self," which, though never found in a pure state, apart from conscious experience, is recognized both as other than any given experience it may be involved in at the moment, and as being one and the same, not in kind, but individually, in each conscious act. Though each of us directly experiences his own "self," and only his own self, it becomes elusive only when we try to say what its otherness and distinctive character consists in; for all descriptions of it, either in terms of its most intimate experiences such as its memories, or its relationship to present or past events, such as its dispositions, its feelings, its knowledge, or volitions, are all couched in general or universal terms, whereas it is uniquely individual. Hence any attempt to say what it is, to define or describe it, will inevitably confuse it in varying degrees with something other than itself. This explains the apparent success of language philosophers in eliminating it by reductive analysis to something familiar and other that can be described. Subsequent chapters are devoted to explaining how we know "other minds," and how far this conception of the elusive mind is compatible or incompatible with that of other philosophers such as Buber, Bradley, Green, Bosanquet, or the "mystics." A final chapter entitled "The Elusive Self and Morals and Religion" gives a preview of what will be dealt with in a sequel to this work, provisionally entitled "The Elusive Self and God." If it lives up to the present volume, it will indeed be something to look forward to.--A. B. W. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"And Her Substance Would Be Mine":Envy, Hate, and Ontological Evacuation in Josephine Hart's SinA. Samuel Kimball (bio)Envy involuntarily testifies to a lack of being that puts the envious to shame.—René Girard, A Theatre of EnvySin, offspring of snt-ya, "that which is," in Germanic sun(d)jo, "it is true," "the sin is real," and ultimately from es-, "to be," source of am, is, sooth, soothe; of the Sanskrit roots sat- and (...) sant-, "existing, true, virtuous"; of the Latin, esse, "to be," from which is derived such words as essence, presence, absence, and represent; of the Greek roots einei, "to be" as well as ont-, "being," which provides the name for the philosophical study of being itself, ontology.—Adapted from The American Heritage Dictionaryof Indo-European RootsI: Ruth Garton's Envious NarrationThe etymology of sin suggests that the evil it names reveals something fundamental about being, something ruinous and yet unavoidable, something that endangers or even nullifies being and yet is inseparable from it, even essential to it. In Josephine Hart's second novel, Sin, this something is a species of Girardian desire in the form of a monstrous envy, which impels the first-person narrator, Ruth Garton, to a lifelong hatred of her cousin and stepsister, Elizabeth. The focus of Ruth's confessional narrative, envy, drives Ruth to take covert and increasingly virulent revenge against her quasi-sibling in a self-deluding attempt to appropriate not only the objects of Elizabeth's desire but ultimately Elizabeth's desire itself and the apparent ontological fullness that Ruth attributes to it. Over the course of her life, then, Ruth loses the promise [End Page 239] of her name in her ruthless pursuit of her enemy. As she becomes increasingly frustrated in her efforts to destroy her sister's life, Ruth finally turns her hatred of her nemesis against herself as well as the readers to whom she appeals for understanding. If envy heightens Ruth's consciousness to the point where she can perceive that her desire signals her ontological emptiness, nevertheless, it so captures her, so dominates her emotional and cognitive life, that she is unable to find a way to affirm her own—or anyone else's—being in the world. The result is a spectacular narrative record of the cost of recognizing but being unable to resist the mimeticism of desire.1II. The Girardian Dynamic of SinAs Girard has demonstrated, one of the most difficult existential challenges is to understand that desire is mimetically mediated. The result is that we come into our desire only through someone else's and always want something more and other than we think we want. Behind every move to possess a particular object is a largely unrecognized and in principle unsatisfiable desire for absolute satisfaction in the form of ontological completeness, self-sufficiency, intactness. On the one hand, Girard writes, "by the example of his own desire…the model conveys to the subject the supreme desirability of the object" (1977, 146). On the other hand, since to desire mimetically means to come into desire through the other rather than through oneself, by this same example the model conveys to the subject the contingency, the dependency, the secondariness, hence the emptiness of the subject's desire, even the subject's lack of desire, the lack that, paradoxically, constitutes his or her desire. Therefore, to be subjected to the other's want ultimately has the effect of signaling the seeming priority, fullness, and self-origination of this other person's desire. For this reason Girard asserts that "man... desires being, something he himself lacks and which some other person seems to possess" (146).If at first the other person models the desire that the subject lacks, it is in the logic of mimesis that the other will become a rival and, unless the rivalry is somehow interrupted or abrogated, inevitably an enemy to be destroyed. The subject will become locked into a potentially deadly game of trying to obtain the same object that the model desires, so as to experience the satisfactions—ultimately, the sense of being—that the object in question seems to provide... (shrink)

This book is based on the Stewart Lectures given at Princeton in 1971. It argues the importance and the legitimacy of a scientific study of religion, and proposes Smart’s strategy for conducting such an enterprise. In brief, Smart wishes to look at religion as an aspect of human existence, to emphasize its intertraditional pluralism and intra-traditional complexity, to admit its lack of clear boundaries vis-à-vis other phenomena, and to draw on a variety of methods both to describe and to explain (...) it. This approach is scientific and broadly phenomenological, but in a way which is appropriate to the subject and which does not seek to reduce it to something else. Hence, Smart seeks to avoid both a theological commitment to the actuality of the object of belief, and the methodological atheism and projectionism of a Peter Berger. Against the former, which also typifies the apologetic preoccupation of much philosophy of religion, Smart proposes to bracket the existence of the object, while respecting the reality it manifests in the life of religious people. Against the latter, Smart prefers a stance of methodological neutralism or agnosticism. Thus, he criticizes Berger’s implicit theory of independent access to the "true" universe, and commends a context-dependent theory of rationality in religion. (shrink)

The present narrative review seeks to unravel where we are now, and where we need to go to delineate the active ingredients in psychotherapy delivered by conversational agents (e.g., chatbots). While psychotherapy delivered by conversational agents has shown promising effectiveness for depression, anxiety, and psychological distress across several randomized controlled trials, little emphasis has been placed on the therapeutic processes in these interventions. The theoretical framework of this narrative review is grounded in prominent perspectives on the active ingredients in psychotherapy. (...) Based on search terms derived from various theoretical perspectives, we conducted a systematic literature search of four scientific databases and identified 17 studies. Across the selected studies, three themes emerged: relationship variables, emotional venting, and cognitive factors. While methodological issues compromise the epistemic value of this evidence base, core questions also remain to be answered. Such questions include, but are not limited to, whether humans can form affectionate bonds to inanimate beings and whether these kind of mental health treatments should be understood as psychotherapy or something else. Researchers should therefore be cautious when applying theories of psychotherapy in the realm of conversational agents. We conclude the paper by introducing recommendations for future research, which we hope will help instigate methodologically sound studies in this field. (shrink)

Blame is usually discussed in the context of the free will problem, but recently moral philosophers have begun to examine it on its own terms. If, as many suppose, free will is to be understood as the control relevant to moral responsibility, and moral responsibility is to be understood in terms of whether blame is appropriate, then an independent inquiry into the nature and ethics of blame will be essential to solving (and, perhaps, even fully understanding) the free will problem. (...) In this article we first survey and categorize recent accounts of the nature of blame – is it action, belief, emotion, desire, or something else? – and then we look at several proposed requirements on appropriate blame that look beyond the transgressor himself, considerations that will form part of a full account of the ethics of blame. (shrink)

The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us (...) class='Hi'>something about our relation to the world rather than anything about the world per se. Nonetheless there is an objective sense of the sublime in that the narratives involved are culturally endorsed rather than invented by an individual. This means that objects can be judged worthy or not of evoking experiences of the sublime. In other words, it is not an idiosyncratic matter. Immanuel Kant’s formulation of this involved explaining how such an experience is possible in terms of his system of the mind. Jane Forsey notes that Kant takes the features of the sublime as given and extrapolates from them certain features of the mind as if any concept of the sublime must implicate the mental architecture of his account (2007). Further to this she argues that in fact the concept of the sublime does implicate a particular system of the mind but neither Kant nor anyone else can successfully formulate it because the concept itself frames certain contradictions. According to Forsey, two consequences follow. First she argues that Kant’s system of the mind does not support the features of the sublime; and secondly that no system could as the very concept is incoherent. If Forsey can show that Kant was mistaken in presenting his account as coherent given his commitments, this would be of interest in its own right. However, her stronger claim is that we cannot separate any concept of the sublime out from Kant’s theoretical underpinnings. That the way the features of the mind are meant to operate in experiences of the sublime are contradictory simply points to the fatal flaws in the whole concept. Her conclusion is that there is no coherent account of the sublime available to us. I will argue that Forsey bases her reasoning on the assumption that a foundational empiricist or direct perception holds; and she interprets Kant’s notions of imagination, understanding and reason as though they are grounded in just such an account of perception. This is revealed in her interpretation of Kant’s phrase “beyond cognition”. Once this foundationalism is replaced with an account of perception more aligned with current research on perception, both philosophical and empirical, then an account of the sublime is available. Further to this however, I argue that what constitutes the narrative of the sublime is historically contingent. Before setting out my arguments, I consider Forsey’s argument in more detail. (shrink)

ABSTRACT Samuel R. Delany is among a group of authors who revivified the utopian imagination in science fiction during the late 1960s and early 1970s. This article discusses Delany's novella “We, in Some Strange Power's Employ, Move on a Rigorous Line”. It revisits scholarship on Delany and on utopia to offer theoretical and historical perspectives concerning how this text, which has been lauded by reviewers but overlooked by scholars, represents an early contribution to the then-nascent genre of the “critical utopia,” (...) one that bears many of the genre's hallmarks and prefigures later works. “We, in Some Strange Power's Employ” narrates a mid-twenty-first-century clash between two fully articulated utopian visions. This article details how the tension between these diametrically opposed “worlds” foments critical scrutiny of both in order to gesture toward a utopian horizon beyond them. It also demonstrates how Delany's novella performs a critical utopian intervention in the cultural politics of its present. Through the “play of worlds” in the narrative's “possible future” Delany advances evenhanded critiques of both sides of the 1960s “culture war” while retaining the decade's utopian zeitgeist, a desire for an impossible “something else” beyond the culture/counterculture dichotomy. (shrink)

This article examines the significance of Jacques Rancière’s work on pedagogy, and argues that to make sense of Rancière’s ‘lesson on the lesson’ one must do more but also less than merely explicate Rancière’s texts. It steadfastly refuses to draw out the lessons of Rancière’s writings in the manner of a series of morals, precepts or rules. Rather, it is committed to thinking through the ‘lessons’ of Rancière in another sense. Above all, Rancière wants to ‘teach’ his readers something (...) absolutely crucial about teaching. In making this claim the article emphasizes the extent to which Rancière advocates an utterly radical pedagogy, one that completely reconceives all the central elements of ‘schooling’, including teacher, student, intelligence and knowledge. Rancière thinks it possible to teach without knowing; he believes that the best schoolmasters can operate not on the assumption of their expertise, but on the equality of intelligence; and this means ultimately that Rancière contends that we can ‘teach what we do not know’. The best schoolmasters are ignorant schoolmasters. Rancière’s radical pedagogy depends upon, just as it consistently advances, a thoroughgoing resistance to a certain form of epistemological and ontological mastery. The rejection of mastery—of schoolmasters who would know it all, and convey this knowing to their students—forms the very backbone of all of Rancière’s writings and critical investigations. This is the chief reason why Rancière is, in a way, always talking about pedagogy, even when his subject matter appears to be something else entirely. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

Blame is usually discussed in the context of the free will problem, but recently moral philosophers have begun to examine it on its own terms. If, as many suppose, free will is to be understood as the control relevant to moral responsibility, and moral responsibility is to be understood in terms of whether blame is appropriate, then an independent inquiry into the nature and ethics of blame will be essential to solving (and, perhaps, even fully understanding) the free will problem. (...) In this article we first survey and categorize recent accounts of the nature of blame – is it action, belief, emotion, desire, or something else? – and then we look at several proposed requirements on appropriate blame that look beyond the transgressor himself, considerations that will form part of a full account of the ethics of blame. (shrink)

Teaching competency in bioethics has been a concern of the field since its start. In 1976, The Hastings Center published the first report on the teaching of contemporary bioethics. Graduate programs culminating in an MA or PhD were not needed at the time, concluded the report. “In the future, however,” the report speculated, “the development and/or changing social priorities may at some point allow, or even require, the creation of new academic structures for graduate education in bioethics.” Although that future (...) might be upon us, the creation of a terminal degree in bioethics has its detractors. Scholars have debated whether bioethics is a discipline with its own methods and theoretical grounding, a multidisciplinary field bringing various professional perspectives to bear on particular types of problems, a set of problem-solving skills to resolve moral disagreements, or something else entirely. Whether or not efforts to develop the methods and theory of bioethics have matured to the point that it is now a discipline in the strictest sense, new bioethics training programs have appeared at all postsecondary levels. In this essay, we examine the number and types of U.S. programs and degrees in this growing field. (shrink)

In this much-vexed passage a form or variant of ναγνρισς is described and exemplified. It is said to be συνθετ, which word all the translations I have seen render ‘compound’ or ‘composite,’ but their authors either omit or clearly fail to explain in what sense this form is said to be ‘composite.’ I believe that this translation is wrong, and that the word here means something else, συνθετος λόγος is good Greek for ‘a made-up tale’ . The point (...) is not that what is said or told is necessarily a lie, but that it is untrue, baseless, not founded on fact. All this is supported by the use of the corresponding verb in e.g. Thuc. I. cc. XXI. and XCVII., where it is opposed to the truthful recording of facts . Further, it justifies Dacier's reading in 1459a 21, where the relative clause refers to στοραις not to τς συνθσεις. The characteristic of a poetic σνθεσις is that it is a connected narrative which has a causal nexus between its parts, and so is of μα πρξις, whereas an στορα is a record of disconnected happenings to a single person or group of persons during a certain period. Such a σνθις may be merely made-up or fictional. It is specially so where it has no basis in fact , but is the sheer invention of the poet. Clearly such a fiction must be rendered acceptable or plausible, and this can only be done through someone being misled, and this misleading implies that that someone draws a wrong conclusion from evidence present or presented to him— i.e. it presupposes a παραλογισμός. (shrink)

In this much-vexed passage a form or variant of ναγνρισς is described and exemplified. It is said to be συνθετ, which word all the translations I have seen render ‘compound’ or ‘composite,’ but their authors either omit or clearly fail to explain in what sense this form is said to be ‘composite.’ I believe that this translation is wrong, and that the word here means something else, συνθετος λόγος is good Greek for ‘a made-up tale’. The point is (...) not that what is said or told is necessarily a lie, but that it is untrue, baseless, not founded on fact. All this is supported by the use of the corresponding verb in e.g. Thuc. I. cc. XXI. and XCVII., where it is opposed to the truthful recording of facts. Further, it justifies Dacier's reading in 1459a 21, where the relative clause refers to στοραις not to τς συνθσεις. The characteristic of a poetic σνθεσις is that it is a connected narrative which has a causal nexus between its parts, and so is of μα πρξις, whereas an στορα is a record of disconnected happenings to a single person or group of persons during a certain period. Such a σνθις may be merely made-up or fictional. It is specially so where it has no basis in fact, but is the sheer invention of the poet. Clearly such a fiction must be rendered acceptable or plausible, and this can only be done through someone being misled, and this misleading implies that that someone draws a wrong conclusion from evidence present or presented to him— i.e. it presupposes a παραλογισμός. (shrink)

This essay looks to the complex intercultural relations of China and Korea to highlight two important issues in political theory and international relations: the transnational nature of world politics and the limits of analytical binaries such as East‐West and tradition‐modernity. Discussions of international politics in East Asia characteristically address issues of security and development studies. More recently, Confucianism has been mobilized as part of the clash of civilizations of Asia with the West. This essay will consider how cultural boundaries are (...) negotiated within the region via an analysis of the workings of the transnational discourse of Confucianism in the construction of Korean identity. While many make truth claims about what ‘Confucianism’ means in Korea, this essay examines the discursive economies of ‘Confucian events’ in three overlapping social spaces: official, mass media, and academic. This essay will show the diversity of Confucianism within East Asia, and underline how rather than being a simple orthodoxy, the shape of Confucianism is an active political issue. While many try to define a core ‘Korean Confucianism’, I argue that we should use Confucianism as an analytical tool to understand something else, citing how some scholars are using Confucianism for the specific project of building democracy in Korea. (shrink)

This essay looks to the complex intercultural relations of China and Korea to highlight two important issues in political theory and international relations: the transnational nature of world politics and the limits of analytical binaries such as East‐West and tradition‐modernity. Discussions of international politics in East Asia characteristically address issues of security and development studies. More recently, Confucianism has been mobilized as part of the clash of civilizations of Asia with the West. This essay will consider how cultural boundaries are (...) negotiated within the region via an analysis of the workings of the transnational discourse of Confucianism in the construction of Korean identity. While many make truth claims about what ‘Confucianism’ means in Korea, this essay examines the discursive economies of ‘Confucian events’ in three overlapping social spaces: official, mass media, and academic. This essay will show the diversity of Confucianism within East Asia, and underline how rather than being a simple orthodoxy, the shape of Confucianism is an active political issue. While many try to define a core ‘Korean Confucianism’, I argue that we should use Confucianism as an analytical tool to understand something else, citing how some scholars are using Confucianism for the specific project of building democracy in Korea. (shrink)

A zombie world is a possible world in which all the microphysical truths are identical to the truths in our world, but no one is phenomenally conscious. A zombie is an individual in a possible world whose microphysical truths are identical to the microphysical truths of an individual in our world, but who has none of the phenomenal conscious experiences of the individual in our world. An inverted is an individual in a possible world whose microphysical truths are not only (...) identical to the microphysical truths of an individual in our world, but who also has phenomenal conscious experiences. These experiences, however, are qualitatively different from the ones of the individual in our world. The first premise of Chalmers’ conceivability argument against materialism is that a zombie world, a zombie and an inverted are ideally conceivable. This paper rejects this premise in claiming that: given that current physics does not allow philosophers to establish a clear concept of the physical that could be opposed to something else non-physical, a zombie world, a zombie and an inverted are merely prima facie, but not ideally conceivable. This objection is called the Obscurity of the Physical Objection.Key-words: Zombies, qualia, conceivability, possibility, physics. (shrink)

This chapter contains sections titled: An Environmental Ethic for Non‐Tree Huggers Considering the Environment by Riding a Bike Cycles of Climate Change Pollution The Cycling Solution The End of a (Subaru) Legacy Notes.

Synchronicity IIn the summer of 2006, I read several books by well-known existential psychiatrist and insightful novelist Irvin Yalom.2 They were all thought-provoking and mightily entertaining. Dr. Yalom sustains lively interests in philosophical aspects of psychiatry, as well as in psychiatric aspects of philosophy. Among other works, he has written two profoundly philosophical novels, namely The SchopenhauerCure and When Nietzsche Wept, in which he has delved deeply and creatively into the psyches of these two outstanding thinkers via the refracting media (...) of literary and historical fiction, and through lenses of eclectic existential psychiatry.Yalom’s fictive excursions are not confined to philosophical realms—far from it. In a delightfully ironic novel entitled Lying on the Couch Yalom takes to task some perennially unfinished business of psychoanalysis, namely analysts’ perpetual struggles with counter-transference issues. Even the most seasoned psychoanalysts, so Yalomartfully reveals, have not yet had their own egos sufficiently shrunk. In consequence, they are apt to experience all kinds of problems with patients, and not always of the patients’ making. To be sure, patients are wont to deceive their analysts at times, whether subconsciously, diffidently, or maliciously. And analysts themselves are prone to all the vanities catalogued by Ecclesiastes in antiquity,3 egoisms and egotisms alike that appear innately rooted in the human psyche, and which inevitably contribute to self-deception. If an analyst’s vanities, self-deceptions, and unresolved counter-transferences were skillfully exploited by a professional con-artist posing as a patient, personal and professional mayhemwould result. This is one of the conspicuous threads in the rich tapestry of untruths, vanities and self deceptions that Yalom weaves in Lying on The Couch.One particular episode in Yalom’s novel rather jarred me when I encountered it in August 2006, because it coincided with an uncannily similar episode that was unfolding in my own life at precisely the same time. (shrink)

Contained in this rather short but quite excellent Clarke F. Ansley Award winning work is a skillful presentation of an intriguing thesis: Spinoza’s definition and criterion of truth follows neither the strictly correspondence nor the strictly coherence lines which many commentators have suspected. Rather, says Mark, Spinoza’s doctrine follows the "ontological" view of truth, prevalent in ancient and medieval times. To be true is to be a being, a thing which "is." It is the author’s contention that there are texts (...) which seem to be evidence in favor of interpreting Spinoza’s doctrine along the lines of a correspondence theory, and there are still other texts which seem to betray a kind of family resemblance to the coherence theory of truth. Most commentators, says Mark, have either focused their entire attention on one or the other of these sets of texts, or else pointed out the discrepancy and went on to something else. But what Mark here suggests to us is a rather bold and interesting approach, which, to Mark’s mind, accomplishes the task of facing squarely both sets of texts without compromising either, and without reducing Spinoza to contradiction. (shrink)

La poésie de Barbara Guest s’inscrit à l’encontre des attentes de lecture habituelles, les événements du poème ayant la priorité sur le contenu : le sujet du poème s’efface en faveur de la plasticité à l’œuvre. Les poèmes- événements requièrent la participation imaginative du lecteur. Plusieurs événements et procédés se croisent : peinture et musique se côtoient en empruntant des processus humains comme le cinéma, le jeu sur la plasticité de l’œuvre d’art, la collaboration artistique, tissage et dé-tissage, mais aussi (...) des phénomènes naturels tels que l’iridescence, l’osmose et la symbiose. L’événement toutefois insaisissable qui a lieu au sein du poème devient le point de rencontre aléatoire entre différents moyens artistiques et des occurrences naturelles. C’est ainsi que la corrélation mystérieuse et miraculeuse peut s’établir entre le poème et son lecteur. Le poème polysémique ouvre des probabilités. Le texte se livre tel un événement de mots et de mondes dans une œuvre mouvante aux couleurs iridescentes et aux subtiles variations. (shrink)

In the TV series, Joe Miller is the stop‐cap which keeps James Holden occupied so he does not have time to send constant broadcasts out to the world. When we think about Holden helping others, why he's always in the midst of things, it's helpful to think about what distinguishes Holden from other characters in the series and what makes him unique—that he grew up on a farm. Holden is the exact opposite of Dresden, Strickland, Mao, and Marco. And that's (...) what Naomi loves about him. The Expanse is dark science fiction whose references are to a war of all against all (Thomas Hobbes’ Leviathan), to the massacre of American Indians, and to a dark intelligence that maybe intended the ultimate domination of nature. And one of their protagonists is a guy who thinks he's a knight tilting at windmills. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Decline of Literary CriticismRichard A. PosnerRónán McDonald, a lecturer in literature at the University of Reading, has written a short, engaging book the theme of which is evident from the title: The Death of the Critic. Although there is plenty of both academic and journalistic writing about literature, less and less is well described by the term "literary criticism." The literary critics of the first two-thirds or so (...) of the twentieth century, now dead, including poets and other creative writers, such as T. S. Eliot, journalists such as Edmund Wilson, and academic literary critics, as distinct from literary scholars, such as F. R. Leavis in England and Cleanth Brooks in the United States, have so few successors that the very genre, if not yet dead, is moribund.1 McDonald deplores the decline of literary criticism and seeks to explain its causes.In place of literary criticism, McDonald (and many others, such as John Ellis) argue, we have postmodern literary theory, an animal of quite a different color from literary criticism.2 "Texts... are interpreted and analysed with a view to unlocking the social norms and attitudes encoded therein, not assessed or evaluated as integral, self-contained creations" (McDonald, p. 21). "The 'best' [is regarded] as a politically dubious category, with selections made in its name often nurturing hidden and hierarchical agendas"(p. ix). "In a comparatively short time, [End Page 385] academic literary criticism has been transformed. Many [literary critics] now regard social activism as the major purpose of literary criticism." And "people who write about literature now write in a prose thick with impenetrable jargon," which erects a barrier between literary theory and literature.3 The well documented decline in the reading of literature has many causes but one may be the obscurantist and politicized style of teaching literature that is in vogue in many colleges.4But something deeper is involved. After all, most literary teachers are not postmodernists. What has happened is the professionalization, in not altogether a good sense, of literary studies. Let me illustrate. More than half a century ago, Cleanth Brooks published what became a famous book of literary criticism, consisting of close readings of famous poems.5 The New Critics were much taken with the metaphysical poets, the most prominent of whom was John Donne, and the high point of Brooks's book was his brilliant close reading of "Canonization," one of Donne's most famous love poems. Just this year (2008) a professor of literature named Ramie Targoff published John Donne, Soul and Body, which has an extensive treatment of Donne's love poetry, though it does not mention "Canonization." As far as I can judge, Targoff's book is a fine scholarly achievement—well written (and not defaced by jargon), thoroughly researched, thoughtful, imaginative. She argues that contrary to some scholars who have regarded Donne as a Neoplatonist who therefore believed that the highest love is purely spiritual (as it was for Plato), he was, throughout his career—even when he became a fiercely devout Anglican cleric writing fervid religious verse—a believer that body and soul were one in all activities, including sexual love; hence the religious imagery in "Canonization," emphasized by Cleanth Brooks, who would I think have found Targoff's analysis congenial. Her book is I would guess a model of modern literary scholarship.But here is the difference between Brooks's book, and specifically his discussion of Donne's poem, and Targoff's. Brooks, who though a distinguished Yale English professor did not have a Ph.D., wrote for a mixed audience—academics, students, the general reader—and he made the nonacademic members of that audience want to read Donne, or read more Donne, or re-read Donne with greater understanding and enjoyment. Targoff writes for other scholars of early modern English literature. Someone else who chances on the book (like me) may read it and think well of it, but unless one has esoteric religious or philosophical interests the experience of reading her book will not quicken one's [End Page 386] interest in reading Donne's poetry—which is a great shame, given the state of the literary culture... (shrink)

In order to say what one means, and be understood, one needs to know to whom one wishes to communicate, the particular mindset one addresses. Expressing oneself clearly and naturally requires some art. Style, then, is an important component of the message received, or so it is in art history writing according to James Elkins. He attempts to demonstrate that what constitutes art history writing is consequently unanalysable; that art history under analysis becomes something else. ‘The glare of (...) logic’ Elkins claims, ‘bleaches the carefully modulated colors of art history and makes whole stretches of it appear blank’ (225). Art history is shrunk when it becomes the patient of the philosopher, the sociologist, the cultural theorist. (shrink)

«Greek Love is a modern invention», asserts the classical scholar. David Hume can claim the title of inventor. In his 1751 Dialogue on morals he used the phrase to account for the relationship between a university boy and a man of merit. How did Hume come to this expression? Pederasty was a traditional sceptical topic against a universal standard for morals. What did Hume think of this practice and its origin? When he accounts for pederasty and homosocial arrangements by negative (...) epithets, is Hume seriously condemning them or he is «only» and prudentially following the common use? The Article tries to give a first answer to these questions by examining Hume's writings and their sources, and the views of the modern authors. The Article delineates the eighteenth-century debate, without projecting on it our views, and maintains that, like some ancient philosophers according to Sextus Empricus, and possibly like Smith, Hume would have declared practice in itself «indifferent». (shrink)

This essay is part of a larger project on the singular in Toni Morrison's novels. The essay focuses on Morrison's early novels, particularly her first two novels, The Bluest Eye and Sula, and makes...

This essay is part of a larger project on the singular in Toni Morrison's novels. The essay focuses on Morrison's early novels, particularly her first two novels, The Bluest Eye and Sula, and makes...

In this paper, I present a new (i.e., previously overlooked) breed of exercitive speech act (the conversational exercitive). I establish that any conversational contribution that invokes a rule of accommodation changes the bounds of conversational permissibility and is therefore an (indirect) exercitive speech act. Such utterances enact permissibility facts without expressing the content of such facts, without the speaker intending to be enacting such facts and without the hearer recognizing that it is so. Because of the peculiar nature ofthe rules (...) of accommodation that generate them, conversational exercitives have importantly different felicity conditions and therefore constitute a new breed ofexercitive speech act. (shrink)

La poésie de Barbara Guest s’inscrit à l’encontre des attentes de lecture habituelles, les événements du poème ayant la priorité sur le contenu : le sujet du poème s’efface en faveur de la plasticité à l’œuvre. Les poèmes- événements requièrent la participation imaginative du lecteur. Plusieurs événements et procédés se croisent : peinture et musique se côtoient en empruntant des processus humains comme le cinéma, le jeu sur la plasticité de l’œuvre d’art, la collaboration artistique, tissage et dé-tissage, mais aussi (...) des phénomènes naturels tels que l’iridescence, l’osmose et la symbiose. L’événement toutefois insaisissable qui a lieu au sein du poème devient le point de rencontre aléatoire entre différents moyens artistiques et des occurrences naturelles. C’est ainsi que la corrélation mystérieuse et miraculeuse peut s’établir entre le poème et son lecteur. Le poème polysémique ouvre des probabilités. Le texte se livre tel un événement de mots et de mondes dans une œuvre mouvante aux couleurs iridescentes et aux subtiles variations. (shrink)

It's sometimes thought that context-invariant linguistic meaning must be a character (a function from context types to contents) i.e. that linguistic meaning must determine how the content of an expression is fixed in context. This is thought because if context-invariant linguistic meaning were not a character then communication would not be possible. In this paper, I explain how communication could proceed even if context-invariant linguistic meaning were not a character.

Armstrong has loose identity be an equivalence relation, yet in cases of something becoming something else, loose identity is not transitive. My alternate account has an attribution of loose identity be really two: a true attribution of an underlying relation (perhaps not transitive) and a false attribution--a Humean feigning-of strict identity. The feigning may become less appropriate as the underlying relation grows more distant. What makes it appropriate initially is that the underlying relation supports a predictable change (...) in some collective. The importance of the predictably changing collective is signaled by regarding it as a single thing. (shrink)

There’s something else I haven’t told you, it might be important... I don’t know. Really. It’s probably nothing, it’s probably trivial, it won’t mean anything I’m sure. But it has been troubling me quite a bit... well, not a lot, but a bit, you know. I suppose I should have mentioned it earlier, but somehow....