Anthony Everett gives a philosophical defence of the common-sense view that there are no such things as fictional people, places, and things. He argues that our talk and thought about such fictional objects takes place within the scope of a pretense, and that we gain little but lose much by accepting fictional realism.

Anthony Quinton; I*—The Presidential Address: Social Objects, Proceedings of the Aristotelian Society, Volume 76, Issue 1, 1 June 1976, Pages 1–28, https://doi.

This thoughtful book argues that skepticism -- the view that reliable knowledge is beyond our grasp -- is unavoidable unless knowledge is thought of not as merely an intellectual matter but as crucial to practical activity and emotional life. Author Anthony Rudd ties this idea to the work of Wittgenstein and Heidegger, exploring important similarities between the former's reminders of the "expressive" character of human experience and the latter's account of ways to experience the physical world "expressively.".

This book is a discussion of some of Kierkegaard's central ideas, showing their relevance to contemporary debates in epistemology, ethics, and the philosophy of religion. Anthony Rudd's aim is not simply to expound Kierkegaard's ideas but to draw on them creatively in order to illuminate questions about the foundations of morality and the nature of personal identity, as discussed by analytical philosophers such as MacIntyre, Parfit, Williams, and Foot. Rudd seeks a way forward from the sterile conflict between the (...) view that morality and religion are based on objective reasoning and the view that they are merely expressions of subjective emotions. He argues that morality and religion must be understood in terms of the individual's search for a sense of meaning in his or her own life, but emphasizes that this does not imply that values are arbitrary or merely subjective. (shrink)

Concerned with topics at the heart of Kant's aesthetics, this provoking reading of The Critique of Judgement focuses on often misunderstood or neglected themes. Starting from the issues of the truth and justifiability of our critical assertions, Anthony Savile develops Kantian theory broadly across the arts, and shows it working with subtlety and rigour in cases as diverse as music and architecture. New light is thrown on the exemplary necessity of our aesthetic pleasures, on the Antimony of Taste, on (...) the distinction between free and dependent beauty, on the supposed idealism of taste, and on the a priori limits of fine art. Eminently subjective material is here given a place in Kant's overall idealism in a sophisticated discussion that will invite the close attention of Kant scholars and aestheticians alike. (shrink)

Frauchiger and Renner have recently claimed to prove that “Single-world interpretations of quantum theory cannot be self-consistent”. This is contradicted by a construction due to Bell, inspired by Bohmian mechanics, which shows that any quantum system can be modelled in such a way that there is only one “world” at any time, but the predictions of quantum theory are reproduced. This Bell–Bohmian theory is applied to the experiment proposed by Frauchiger and Renner, and their argument is critically examined. It is (...) concluded that it is their version of “standard quantum theory”, incorporating state vector collapse upon measurement, that is not self-consistent. (shrink)

There is no doubt that the model presented here is incomplete. Many important categories, particularly negation and the adverbials, have been entirely ignored, and the treatment of Tense and the affixes is certainly inadequate. It also remains to be seen how the many constructions that have been ignored here are to be accommodated within the framework that has been outlined. However, the fact that a standard categorial lexicon, plus the four rule schemata, seems to come close to exhaustively specifying the (...) main clause constructions of English, and also seems to explain a number of major constraints on transformations, encourages us to compare the theory with certain alternatives, and to examine its broader implications. (shrink)

This volume offers perspectives on the theme of surprise crossing philosophical, phenomenological, scientific, psycho-physiology, psychiatric, and linguistic boundaries. The main question it examines is whether surprise is an emotion. It uses two main theoretical frameworks to do so: psychology, in which surprise is commonly considered a primary emotion, and philosophy, in which surprise is related to passions as opposed to reason. The book explores whether these views on surprise are satisfying or sufficient. It looks at the extent to which surprise (...) is also a cognitive phenomenon and primitively embedded in language, and the way in which surprise is connected to personhood, the interpersonal, and moral emotions. Many philosophers of different traditions, a number of experimental studies conducted over the last decades, recent works in linguistics, and ancestral wisdom testimonies refer to surprise as a crucial experience of both rupture and openness in bodily and inner life. However, surprise is a theme that has not been dealt with directly and systematically in philosophy, in the sciences, in linguistics, or in spiritual traditions. This volume accomplishes just that. (shrink)

This essay seeks to characterise the essential features of an equitable health care system in terms of the classical Aristotelian concepts of horizontal and vertical equity, the common language of “need” and the economic notion of cost-effectiveness as a prelude to identifying some of the more important issues of value that policy-makers will have to decide for themselves; the characteristics of health that can cause policy to be ineffective ; the information base that is required to support a policy directed (...) at securing greater equity, and the kinds of research that are needed to underpin such a policy. (shrink)

What are the consequences, for human moral practice, of an evolutionary understanding of that practice? By ‘moral practice’ we mean the way in which human beings think, talk and debate in moral terms. We suggest that the proper upshot of such considerations is moderate support for anti-realism in ethics.

Ekpo, Anthony Did anything happen at Vatican II? anything of significance? These and similar questions have been posed by the historian John O'Malley, who has offered a historical-theological reflection on the teachings of the Second Vatican Council and its attendant reception over the years. The council has certainly provoked remarkable commentaries and reactions from scholars who have approached it from various viewpoints, namely, theological, historical, ecclesiological, canonical, moral and pastoral. At the end of the council, what emerged as the (...) Vatican II documents are far from forming a neat and tight theological treatise. Some theological issues were discussed briefly in the documents, but a richer theological interpretation and synthesis were left to be fleshed out by post-conciliar scholars. For any reflection on the council to be taken seriously, it has to feel the pulse and take stock of the church's selfunderstanding in today's world. Fifty-three years after the end of the council, the questions are no longer so much about what happened at Vatican II, but about what is happening now. 'How is the council being received today? Is the council, in its simplicity and depth, still relevant after fifty-three years?'. (shrink)

Introduction Il sera ici question de la corrélation entre l’érotique et l’historique, ou, comme on pourrait aussi le dire, entre la vie et l’esprit, et de leur intersection, qui nous est révélée dans le phénomène de la honte. Je traiterai de cette intersection m’intéressant dans un premier temps au rôle constitutif que joue la perception érotique chez le phénoménologue Maurice Merleau-Ponty. Si je souhaite souligner ce point, ce n’est pas seulement parce que cet aspect de l’œuvre de Merleau-P...

In a 2020 article published in volume 9, number 1 of [Filosofia Theoretica]_, _Martin F. Asiegbu and Anthony Chinaemerem Ajah questioned the continued relevance of Afro-communalism. They argued that nothing about communalism makes it African. They also demonstrated how the brand of communalism presented as ‘African’, is too reductive, emphasizes conformism and therefore is against the individual and counter-productive for entire societies in Africa. For the above reasons, they summed that communalism with ‘Afro-’ is irrelevant and needs to end. (...) In a 2021 article published in the same journal in response to the initial submission by Asiegbu and Ajah, Enweh held that their take on Afro-communalism was too harsh. He marshalled out five “issues and difficulties” regarding their critique of the concept. Although Enweh’s critique is a worthwhile invitation to a conversation, which clarifies and complements, his proposal for an interpretative rehabilitation of Afro-communalism in the 21 st century is surely wrongheaded. To respond to Enweh, a review of his critique of Asiegbu and Ajah will foreground the attempt to clarify some parts of Asiegbu and Ajah’s initial position. We will assess Enweh’s arguments in terms of the relevance of the rehabilitation he suggested and question the meaning of what Enweh termed the “amity of ethnic nationalities.” We will argue that Enweh was unable to provide sufficient grounds to show that Asiegbu and Ajah’s critique of Afro-communalism was “uninformed… [and] harsh.” We will also demonstrate that his critique of their views was indefensible just as he was unable to explain what he meant by the alternative model he claimed to introduce in the discussion. (shrink)

Reviews goodman's claims about representation, Expression and identity of works of art. Claims that the underlying nominalist logic effectively prohibits our understanding of these notions (pace goodman) and leaves everything which is of specific artistic and aesthetic interest out of account.

The quantum-mechanical description of the world, including human observers, makes substantial use of entanglement. In order to understand this, we need to adopt concepts of truth, probability and time which are unfamiliar in modern scientific thought. There are two kinds of statements about the world: those made from inside the world, and those from outside. The conflict between contradictory statements which both appear to be true can be resolved by recognising that they are made in different perspectives. Probability, in an (...) objective sense, belongs in the internal perspective, and to statements in the future tense. Such statements obey a many-valued logic, in which the truth values are identified as probabilities. (shrink)

The Unspeakable Girl is, to judge a book by its cover, not merely peripheral to Agamben’s oeuvre, but something rather trifling: a philosophical bauble, a curiosity piece. Published in collaboratio...

[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in (...) the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)

I do not by any means with to take on the philosophy or aesthetics of music as a whole. In his review of Edward Lippman’s Humanistic Philosophy of Music, Monroe Beardsley lists six areas in which an ideal philosophy of music ought to provide guidance: an ontology of music, an answer to the question What is a musical work of art? a taxonomy of music, a categorical scheme for the basic and universal aspects of music; a hermeneutics or semiotics of (...) music, an answer to the question What, if anything, can music refer to? an epistemology of music; a theory of music criticism, an answer to the question What makes one musical work better than another? the foundations of a social philosophy of music.4 My subject here is the third item. I want most particularly to separate it from the fifth item, for to arrive at an interpretation of a particular piece is not to arrive at an evaluation of it. I shall also try, particularly in my discussion of Nelson Goodman’s seminal Languages of Art, to avoid the first item.5 And I shall try throughout to avoid embroilment in the question of how the aesthetic experience can be separated from the nonaesthetic.My subject is in fact only a part of the third item above, namely, current theories of musical expression. “Expression” is not equivalent to “meaning”; I understand and shall use the word “expression” to indicate a kind of meaning that entails some kind of reference outside the internal syntax of the artwork itself. As Goodman remarks, “rather obviously, to express is to refer in some way to what is expressed.”6 How this reference is made by the artwork is interaction with the listener, and what sort of purpose it serves—these concerns will be the focus of this essay. To choose this focus is not to deny something of which I have no doubt, both from Peter Faltin’s careful arguments and from my own experience: there is a kind of musical meaning that is purely syntactic, that operates without reference outside the internal operations or procedures of musical systems themselves.7 But through this may be ontologically the most fundamental kind of musical meaning, it is not the only kind. To listen for this alone is not the only way to approach music. Indeed, I should guess it is not the most fundamental way for many listeners. 4. I paraphrase and abbreviate from Monroe C. Beardsley, review of A Humanistic Philosophy of Music by Edward A. Lippman, Musical Quarterly 66 : 305.5. See Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols ; all further references to this work, abbreviated LA, will be included in the text.6. Goodman, “Reply to Beardsley,” Erkenntnis 12, pt. 1 : 171; and see Edward T. Cone: “Expressive values in any art … cannot arise from analytical values alone. How could they? Unless one wishes to explain what it could possibly mean for a work of art to ‘express itself,’ then one must agree that expression, by its very definition, implies a relationship between the work of art and something else; while analytical values are derivable purely from internal structure” . Anthony Newcomb, professor of music at the University of California, Berkeley, is the author of The Madrigal at Ferrara. He is currently at work on a book on musica ficta, Understood Accidentals in Renaissance Vocal Polyphony, 1450-1600, and a study of the relationship between structure and expression in nineteenth-century music. (shrink)

Ekpo, Anthony The church is a sacrament of the outpouring of the Holy Spirit, a fruit of Pentecost. The church came to birth through the instrumentality of the Holy Spirit and is forever sustained and renewed through the influence of the same Spirit. It is in the Spirit-the breath of God that cannot be domesticated by anyone-that the church lives, moves and has its being. Without the Spirit, therefore, the church would not be the living Body of Christ; it (...) would rather be a corpse, which, left to its own devices, could only putrefy and decay. Hence, the church is the workshop of the Holy Spirit, and through his graciousness, the church and its members are blessed with myriads of pneumatic enablement that have been called charisms. Charisms 'are the manifold ways in which the graciousness of God is manifested in the lives of individual Christians, especially by making them effective instruments of grace to others in the body of Christ'. (shrink)

Leibniz is a major figure in western philosophy and, with Descartes and Spinoza, one of the most influential philosophers of the Rationalist School. The _Monadology_ is his most famous work and one of the most important works of modern philosophy. _Leibniz and the Monadology_ introduces and assesses: *Leibniz's life and the background to the _Monadology_ *the ideas and text of the _Monadology_*Leibniz's continuing importance to philosophy Leibniz and the Monadology is ideal for anyone coming to Leibniz for the first time. (...) It also includes the text of the _Monadology_, specially translated for this _GuideBook_ by Anthony Savile. (shrink)

How to live a more productive life by putting a profitable lifestyle ahead of profits With his standout Wall Street line "Greed is good," Gordon Gekko became pop culture icon for unrestrained greed. But, while greed might be great for one person-especially when that person is fictional-it's not so great for good people living in the real world. In Goodbye Gordon Gekko: How to Find Your Fortune and Not Lose Your Soul, Anthony Scaramucci describes how a better understanding of (...) people, capital, and culture can be used to enrich one's life, financially as well as spiritually. With smart and engaging prose, the book: Discusses how the best manifestations of ambition, entrepreneurship and mentoring can lead to a life that not only fulfills financial obligations, but also leaves a lasting legacy Describes ways in which Americans and American companies can act to avoid the kind of crisis that crippled the country's economy Details how to build a core set of values to discover wealth on one's own terms Given the turmoil in financial markets over the past few years, many people are reevaluating what it means to be "rich." Goodbye Gordon Gekko shows how it's possible to be well-off without all the trappings of wealth. (shrink)

This fresh orientation to Kant's _Critique of Pure Reason_ presents his central theme, the development of his Transcendental Idealism, as a ground-breaking response to perceived weaknesses in his predecessors' accounts of experiential knowledge. Traces the central theme of the Critique, the development of Kant's Transcendental Idealism. Offers new and original readings of the central arguments in both the Transcendental Aesthetic and the Transcendental Analytic. Appraises the success and failure of Kant's project in the _Critique_.

Gittins, Anthony Sailing ships and boats, and the sailors who navigate them, depend mightily upon the wind; without it they remain in the doldrums, floating aimlessly. Without wind, all the sailors' experience and ingenuity is of absolutely no help. But if the wind should get up and blow against them - directly head-on or broadside - it can destroy and sink even the biggest boats and surest sailors. So navigators must learn to read the wind carefully and with respect, (...) and to interpret and respond to it appropriately. Fighting against the might of the wind is ultimately a lost cause. (shrink)

Gittins, Anthony J By its achievements and the transformations that would not have happened without it, Alcoholics Anonymous has always impressed me, as do the people who belong to it. And yet there is little structure, few rules, and no rush to judgment involved. It is a 'fellowship' rather than an organisation, and a society of peers rather than a clash of personalities. Its success is attributed to the sharing of experiences, the moral support of the sponsors and the (...) community, the strength and determination - rather than the weakness or the history - of its members, and the sense of hope it inspires and maintains in those who refuse to give up, one day at a time. To admit or acknowledge powerlessness over alcohol or any addiction is not to identify oneself as without all power. On the contrary, those who acknowledge weakness in one area and yet show determination succeed partly because of the power of the wider group and partly because of the power of their own personal dedication and perseverance. Members of AA know that they are only a day or a drink from disaster, and yet, curiously, this is their strength; by keeping that awareness clearly before them, they are unlikely to become arrogant or independent of a support group. (shrink)

Sir Anthony Kenny here continues his fascinating account of the history of philosophy, focusing on the thousand-year-long medieval period. This is the second volume of a four-book set in which Kenny will unfold a magisterial new history of Western philosophy, the first major single-author history of philosophy to appear in decades. In this volume, Kenny takes us on a fascinating tour through more than a millennium of thought from 400 AD onwards, charting the story of philosophy from the founders (...) of Christian and Islamic thought through to the Renaissance. The Middle Ages saw a great flourishing of philosophy, and the intellectual endeavor of the era reaches its climax in the thirteenth and fourteenth centuries, with the systems of the great schoolmen such as Thomas Aquinas and John Duns Scotus. With Kenny as guide, we see these major philosophers through the eyes of a man who has spent a lifetime contemplating their work. Thus we do not simply get an overview of philosophy, but also a penetrating and insightful critique of it. Kenny offers an illuminating account of various thinkers and schools of thought, from Augustine to Maimonides and from Grosseteste to Pomponazzi. And he offers much insight into medieval thinking about logic and language, knowledge, physics, metaphysics, the mind, the soul, and God. Vividly written, but serious and deep enough to offer a genuine understanding of the great philosophers, Kenny's lucid and stimulating history will become the definitive work for anyone interested in the people and ideas that shaped the course of Western thought. (shrink)

Anthony J. Celano - Das Problem der Willenschwäche in der mittelalterlichen Philosophie - Journal of the History of Philosophy 45:3 Journal of the History of Philosophy 45.3 494-495 Muse Search Journals This Journal Contents Reviewed by Anthony Celano Stonehill College Tobias Hoffmann, Jörn Müller, and Matthias Perkams, editors. Das Problem der Willenschwäche in der mittelalterlichen Philosophie. Recherches de Théologie et Philosophie médiévales. Bibliotheca 8. Leuven: Peeters, 2006. Pp. iv + 377. Paper, e69.00. This volume contains revised versions of (...) thirteen papers delivered at a 2004 conference at Friedrich-Schiller University, Jena, on moral weakness in medieval thought. The contributors, a group of scholars both new and established, demonstrate the variety and richness in medieval authors' approach to the topic. As the editors explain in their introduction, moral weakness may be formulated as the phenomenon that someone does not do what one.. (shrink)