Liz JacksonEducation University of Hong KongNel Noddings is known around the world for her contributions to philosophy and philosophy of education. Her work on caring and relational ethics broke ne...

This book offers a close-up look at theological education in the U.S. today. The authors' goal is to understand the way in which institutional culture affects the outcome of the educational process. To that end, they undertake ethnographic studies of two seminaries-one evangelical and one mainline Protestant. These studies, written in a lively journalistic style, make up the first part of the book and offer fascinating portraits of two very different intellectual, religious, and social worlds. The authors go on to (...) analyze these disparate environments, and suggest how in each case corporate culture acts as an agent of educational change. They find two major consequences stemming from the culture of each school. First, each culture gives expression to a normative goal that aims at shaping the way students understand themselves and from issues of ministry practice. Second, each provides a "cultural tool kit" of knowledge, practices, and skills that students use to construct strategies of action for the various problems and issues that will confront them as pastors or in other forms of ministry. In the concluding chapters, the authors explore the implications of their findings for theories of institutional culture and professional socialization and for interpreting the state of religion in America. They identify some of the practical dilemmas that theological and other professional schools currently face, and reflect on how their findings might contribute to their solution. This accessible, thought-provoking study will not only illuminate the structure and process by which culture educates and forms, but also provide invaluable insights into important dynamics of American religious life. (shrink)

Alter (The Matter of Consciousness: From the Knowledge Argument to Russellian Monism, GB: Oxford University Pres, 2023) argues for something surprising: despite being widely rejected by philosophers, including Frank Jackson himself, Jackson’s knowledge argument succeeds. Alter’s defense of Jackson’s argument is not only surprising; it’s also exciting: the knowledge argument, if it’s sound, underscores the power of armchair philosophy, the power of pure thought to arrive at substantial conclusions about the world. In contrast, I aim to make (...) a case for something unsurprising and unexciting: that the knowledge argument does not succeed, or, even less far-reaching, that Alter’s defense of it is not persuasive. Mine is a classic file-drawer thesis, but what it has going for it is that it’s true, or so I think, and hope to illustrate why you should too. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Three Zoras:Barbara Johnson and Black Women WritersHortense J. Spillers (bio)Talking about Zora Neale Hurston is like approaching the Sphinx—so much riddle, so many faces, and all of it occurring on fairly high holy ground since Alice Walker's remarkable discovery a couple of decades ago.1 But Barbara Johnson's criticism cracks the code on Her Majesty and brings the sign vehicle—"Zora Neale Hurston"—to the table of (...) juxtapositions and comparisons. There is the iconic Hurston, whose positioning between the Harlem Renaissance2 and the post-World War II writers gives her a priority of status that marks the woman artist's entry into literary modernism. The latter, in its variety of contexts and alignments, opened the way to certain experimental forms for these writers and might not have been completed as a systematic gesture before the late sixties and early seventies, when this generation of practitioners was free to create antiheroic figures and to probe the limits of representability. In short, with Zora Neale Hurston a window is pried open, a breeze blows through, and by the time of Toni Morrison's Beloved, an opening has become a prospect, a landscape of vistas of possibility. We can think of Hurston, then, as an enabler, who was not particularly encouraged by the literary politics of her age, from first to last; whether by the "maledom" of Harlem Renaissance avenues to reward and achievement, or by the paradigm shift of race politics in the 1950s,3 Hurston seems to have been equipped with the uncanny ability to create a kind of chaos, to behave outside the parameters of fashion, and to create dimensions of the mythical about her as she modeled versions of self.In her role as classically trained anthropologist and folklorist, Hurston is considered today one of the major theoreticians of black culture.4 Her collections of lore, a [End Page 94] motherlode of a southern-centered orality,5 of the countryside, are fruitfully poised against the displaced metaphysical traditions of discourse that we especially associate with figures like Alain Locke and W. E. B. DuBois.6 As it now appears, the oppositional currents that run between the Hurstonian and the DuBoisian figurations have yet to be reconciled: the latter is text-based, and the former exceeds the abiding centrality of the word. Barbara Johnson argues in A World of Difference that Hurston "tried to explain the difference between a reified 'art' and a living culture in which distinctions between spectator and spectacle, rehearsal and performance, experience and representation are not fixed" [159]. For Hurston, folklore was "'the arts of the people before they find out that there is such a thing as art.'" For Hurston, unlike DuBois, for example, black culture was not a project in the modality of Bildung, or the Hegelian notion, but, rather, a repertoire of gestures that might be said to belong to a second skin—the kinetic thing that is done or said.From our current perspective, what Hurston called "folklore" and what offered the occasion for the ethnographic foray might be given other names, though renaming these acts and gestures of the everyday does not make it any easier to reconcile the conceptual split in black culture theory between textuality and orality, or between "urban" and "countryside." But all of these locutions have been essentially eviscerated by radical changes in the availability and transmission of consumer goods that have rendered US local and indigenous cultures virtually indistinguishable from Jackson, Mississippi to Boston, Massachusetts. Take any interstate network across the land, east to west, or north to south: between McDonald's and the food/gas mart, scattered along ten- to twenty-mile sequences of roadway, one is quite astonished at the sameness and homogeneity of motifs that have translated particularity into an item of commerce and exchange. At one time, the critics were calling this outcome the postmodern flow, but my own hunch is that this apparent repetition and replication of the same are riddled with a variety of timbres and accents, still, that the Hurston ear was so sharp to articulate and define six decades ago. And in that intricate choreography between the life... (shrink)

In this article, we examine the role played by heterogeneity in the popular “connections model” of Jackson and Wolinsky (J Econ Theory 71(1):355–365, 1996). We prove that when heterogeneity with respect to the values of resources, or the information decay parameter, depends on the identity of the player who forms the link, and the player who receives the link, all networks can be supported as Nash. Moreover, we show that Nash networks may not always exist. Interestingly, in (...) the absence of decay, neither result occurs in a model with value heterogeneity. Finally, we show that when reducing heterogeneity, all networks cannot be supported as Nash, and the non-existence problem also disappears. (shrink)

It is widely thought that focusing on highly skilled movements while performing them hinders their execution. Once you have developed the ability to tee off in golf, play an arpeggio on the piano, or perform a pirouette in ballet, attention to what your body is doing is thought to lead to inaccuracies, blunders, and sometimes even utter paralysis. Here I re-examine this view and argue that it lacks support when taken as a general thesis. Although bodily awareness may often interfere (...) with well-developed rote skills, like climbing stairs, I suggest that it is typically not detrimental to the skills of expert athletes, performing artists, and other individuals who endeavor to achieve excellence. Along the way, I present a critical analysis of some philosophical theories and behavioral studies on the relationship between attention and bodily movement, an explanation of why attention may be beneficial at the highest level of performance and an error theory that explains why many have thought the contrary. Though tentative, I present my view as a challenge to the widespread starting assumption in research on highly skilled movement that at the pinnacle of skill attention to one's movement is detrimental. (shrink)

According to David Chalmers , 'we have good reason to suppose that consciousness has a fundamental place in nature' . This, he thinks is because the world as revealed to us by fundamental physics is entirely structural -- it is a world not of things, but of relations -- yet relations can only account for more relations, and consciousness is not merely a relation . Call this the 'structural argument against physicalism.' I shall argue that there is a view about (...) the relationship between mind and body, what I call, 'Russellian physicalism' that is consistent with the premises of the structural argument yet does not imply that consciousness is fundamental. (shrink)

Intended for introductory classes focusing on philosophy of mind, 'Theories of Mind' includes readings from primary sources, edited to suit the needs of the beginner. Selections focus on vivid examples and counterexamples, and give instructors concerned with assigning accessible primary source material a foundation for more advanced studies in philosophy. Selections from David Armstrong, Ned Block, David Chalmers, Patricia Churchland, Paul Churchland, Andy Clark, Daniel C. Dennett, René Descartes, Jerry A. Fodor, Keith Gunderson, Frank Jackson, David Lewis, Barbara (...) Montero, Thomas Nagel, Gilbert Ryle, John Searle, J. J. C. Smart, and Alan M. Turing are included. (shrink)

How should biological behaviour be modelled? A relatively new approach is to investigate problems in neuroethology by building physical robot models of biological sensorimotor systems. The explication and justification of this approach are here placed within a framework for describing and comparing models in the behavioural and biological sciences. First, simulation models – the representation of a hypothesis about a target system – are distinguished from several other relationships also termed “modelling” in discussions of scientific explanation. Seven dimensions on which (...) simulation models can differ are defined and distinctions between them discussed: 1. Relevance: whether the model tests and generates hypotheses applicable to biology. 2. Level: the elemental units of the model in the hierarchy from atoms to societies. 3. Generality: the range of biological systems the model can represent. 4. Abstraction: the complexity, relative to the target, or amount of detail included in the model. 5. Structural accuracy: how well the model represents the actual mechanisms underlying the behaviour. 6. Performance match: to what extent the model behaviour matches the target behaviour. 7. Medium: the physical basis by which the model is implemented. No specific position in the space of models thus defined is the only correct one, but a good modelling methodology should be explicit about its position and the justification for that position. It is argued that in building robot models biological relevance is more effective than loose biological inspiration; multiple levels can be integrated; that generality cannot be assumed but might emerge from studying specific instances; abstraction is better done by simplification than idealisation; accuracy can be approached through iterations of complete systems; that the model should be able to match and predict target behaviour; and that a physical medium can have significant advantages. These arguments reflect the view that biological behaviour needs to be studied and modelled in context, that is, in terms of the real problems faced by real animals in real environments. Key Words: animal behaviour; levels; models; neuroethology; realism; robotics; simulation. (shrink)

I am going to argue that it is time to come to terms with the difficulty of understanding what it means to be physical and start thinking about the mind-body problem from a new perspective. Instead of construing it as the problem of finding a place for mentality in a fundamentally physical world, we should think of it as the problem of finding a place for mentality in a fundamentally nonmental world, a world that is at its most fundamental level (...) entirely nonmental. The mind-body problem, I want to argue, is the problem of determining whether mentality can be accounted for in terms of nonmental phenomena. In other words, it is the question, ‘is mentality a fundamental feature of the world’. (shrink)

Physicalism is thought to entail that mental properties supervene on microphysical properties, or in other words that all God had to do was to create the fundamental physical properties and the rest came along for free. In this paper, we question the all-god-had-to-do reflex.

Physicalism is thought to entail that mental properties supervene on microphysical properties, or in other words that all God had to do was to create the fundamental physical properties and the rest came along for free. In this paper, we question the all-god-had-to-do reflex.

This paper takes a critical look at the idea that evolutionary theory is a statistical theory. It argues that despite the strong instrumental motivation for statistical theories, they are not necessary to explain deterministic systems. Biological evolution is fundamentally a result of deterministic processes. Hence, a statistical theory is not necessary for describing the evolutionary forces of genetic drift and natural selection, nor is it needed for describing the fitness of organisms. There is a computational advantage to the statistical theory (...) of population genetics, but population genetics succeeds only by eliminating causes from its account of evolutionary change. (shrink)

Might the world be structured, as Leibniz thought, so that every part of matter is divided ad infinitum? The Physicist David Bohm accepted infinitely decomposable matter, and even Steven Weinberg, a staunch supporter of the idea that science is converging on a final theory, admits the possibility of an endless chain of ever more fundamental theories. However, if there is no fundamental level, physicalism, thought of as the view that everything is determined by fundamental phenomena and that all fundamental phenomena (...) are physical, turns out false, for in such a world, there are no fundamental phenoma, and so fundamental phenomena determine nothing. While some take physicalism necessarily to posit a fundamental level, here I present a thesis of physicalism that allows for its truth even in an infinitely decomposable world. (shrink)

Many mathematicians are platonists: they believe that the axioms of mathematics are true because they express the structure of a nonspatiotemporal, mind independent, realm. But platonism is plagued by a philosophical worry: it is unclear how we could have knowledge of an abstract, realm, unclear how nonspatiotemporal objects could causally affect our spatiotemporal cognitive faculties. Here I aim to make room in our metaphysical picture of the world for the causal relevance of abstracta.

Might the world be structured, as Leibniz thought, so that every part of matter is divided ad infinitum? The Physicist David Bohm accepted infinitely decomposable matter, and even Steven Weinberg, a staunch supporter of the idea that science is converging on a final theory, admits the possibility of an endless chain of ever more fundamental theories. However, if there is no fundamental level, physicalism, thought of as the view that everything is determined by fundamental phenomena and that all fundamental phenomena (...) are physical, turns out false, for in such a world, there are no fundamental phenomena, and so fundamental phenomena determine nothing. While some take physicalism necessarily to posit a fundamental level, here I present a thesis of physicalism that allows for its truth even in an infinitely decomposable world. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. (shrink)

Mind &Language, Volume 34, Issue 3, Page 376-392, June 2019.

Though utilitarianism is far from being universally accepted in the philosophical community, it is taken seriously and treated respectfully. Its critics do not dismiss it out of hand; they do not misrepresent it; they do not belittle or disparage its proponents. They allow the theory to be articulated, developed, and defended from criticism, even if they go on to reject the modified versions. Ethical egoism, a longstanding rival of utilitarianism, is treated very differently. It is said to be “refuted” by (...) arguments of a sort that apply equally well to utilitarianism. It is said to be “unprovable,” when many of the greatest utilitarians themselves, such as Jeremy Bentham (1748–1832), John Stuart Mill (1806–1873), and Henry Sidgwick (1838–1900), admitted that no normative ethical theory, including their own, is provable. Critics of ethical egoism seldom discuss the various theoretical moves that utilitarians are routinely allowed to make, such as (1) fighting the facts, (2) transforming the theory from “act utilitarianism” to “rule utilitarianism,” and (3) biting the bullet. This essay argues that every defensive move made by utilitarians can be made, with equal vigor (if not also plausibility), by ethical egoists. The conclusion is that ethical egoism deserves to be taken more seriously than it is. (shrink)

If we [women] have not stopped rape, we have redefined it, we have faced it, and we have set up the structures to deal with it for ourselves.[T]he definition of rape, which has in the past always been understood to mean the use of violence or the threat of it to force sex upon an unwilling woman, is now being broadened to include a whole range of sexual relations that have never before in all of human experience been regarded as (...) rape.In 1989 the philosopher and self-described feminist Christina Sommers published a short essay — ‘an opinion piece,’ she called it — that was eventually developed into and published as a philosophical article. In this essay Sommers criticized ‘feminist philosophers’ for being ‘oddly unsympathetic to the women whom they claim to represent.’ Specifically, Sommers accused these philosophers of ignoring the ‘values of the average woman’ and of being caught up in an ‘ideological fervor.’ To emphasize her point that the so-called feminist philosophers have lost touch with ‘the average woman,’ Sommers wrote that ‘One must nevertheless expect that many women will continue to swoon at the sight of Rhett Butler carrying Scarlett O'Hara up the stairs to a fate undreamt of in feminist philosophy.’. (shrink)

Philosophy for Children claims to foster not only critical thinking, but also creative and caring thinking. However, its theoretical foundations draw mainly on the analytic and pragmatist philosophical tradition. Consequently, and made evident by the choice of the terms ‘caring thinking’ and ‘creative thinking’, it seem to reduce these concepts mostly to ‘thinking skills’. In this article I will first briefly explicate the difficulties of such a reduction. Secondly I will try to resolve this problem by embedding rationality, creativity and (...) caring in a more holistic anthropology. To this end I will refer to the German philosopher and poet Friedrich Schiller, who anchors reason and the emotions in aesthetics (that is, the relationship with the sensuous world). Finally, the article calls on the thought of D. W. Winnicott in order to show how Philosophy for Children can embrace an active creation of an emotionally meaningful (caring) and rationally reflected (critical thinking) reality through the sensuous play with concepts (creativity). (shrink)

ABSTRACT To what extent is honesty or truthfulness morally obligatory in trade and advertising practices? It is argued here what while we have a general right, in business as elsewhere, not to be lied to, we have no general right, either in our business or other pursuits, not to be deliberately deceived. Certain restrictions on deceptive practices in trade and advertising, even unintentionally deceptive practices, are, even so, morally defensible: viz. where the practice would mislead reasonable people to a material (...) degree or where it would mislead especially vulnerable people who are predictably unreasonable. It is suggested that a code of practice for trade and advertising which exaggerates the degree of truthfulness which is morally obligatory may actually be corrupting in effect. (shrink)

This chapter is concerned with materialistic views of the mind and the natural world in general. It examines the scientific evidence for the claim that everything within the spatiotemporal realm is physically constituted, and considers whether this evidence leaves room for any alternatives to this physicalist thesis.

According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience (...) in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed. (shrink)