In the Black Notebooks, Heidegger portrays actual National Socialism as an Un-wesen or "distorted essence" that must be "affirmed" because it will bring about the collapse of modernity.

Richard Polt takes a fresh approach to Heidegger’s thought during his most politicized period, and works toward a philosophical appropriation of his most valuable ideas. Polt shows how central themes of the 1930s—such as inception, emergency, and the question “Who are we?”—grow from seeds planted in Being and Time and are woven into Heidegger’s political thought. Working with recently published texts, including Heidegger’s Black Notebooks, Polt traces the thinker’s engagement and disengagement from the Nazi movement. He critiques Heidegger (...) for his failure to understand the political realm, but also draws on his ideas to propose a “traumatic ontology” that understands individual and collective existence as identities that are always in question, and always remain exposed to disruptive events. Time and Trauma is a bold attempt to gain philosophical insight from the most problematic and controversial phase of Heidegger’s thought. (shrink)

Biopolitics as a System of Thought takes seriously Foucault's claim that biopolitics is the primary technique of government, the means by which the organisation of our social relations operates. Engaging with modern political discussions such as black lives matter and Roe v Wade, Richards draws from jurists such as Pierre Legendre, Yan Thomas, and philosophers such as Agamben, Arendt, Esposito to explore how the same institutions that offer rights protection can easily and without much notice, take them away.

This book is the complete story of the creation of the universe, as it was understood by the ancient Egyptians. It is a collection of harmonic and radical 'Black Thoughts' and the pursuit of equality for all of this planet's inhabitants"--P. vii.

This article explores the ways in which Janelle Monáe’s audiovisual performances leverage black female flesh to trouble historically constituted imaginings of ‘the human’. Tracking Monáe’s audiovisual aesthetics across ‘Many moons’ and Dirty Computer, I interrogate acoustic and imagistic resonances that recall the repeating horrors of bondage, and which also constitute performative ‘fabulations’ whereby freedoms that are engendered specifically by and within black female flesh might be imagined. Monáe ‘enfleshes’ the cyborg to critique cyberfeminist and posthumanist theories that advocate (...) for material dissolution as a framework for liberation, as well as to trouble black women’s historical relationships to the category ‘human’. Rather than understand Dirty Computer as a (re)turn to the human Monáe, I contend that the project extends the artist’s longstanding critical engagement with the black female cyborg and black sonic cyberfeminist liberatory potentialities. (shrink)

At least since Darwin's Origin of Species was published in 1859, it has increasingly become accepted that the existence of God is, intellectually, a lost cause, and that religious faith is an entirely non-rational matter--the province of those who willingly refuse to accept the dramatic advances of modern cosmology. Are belief in God and belief in science really mutually exclusive? Or, as noted philosopher of science and religion Richard Swinburne puts forth, can the very same criteria which scientists use (...) to reach theories about everything from DNA to the Big Bang be used to argue for the existence of God? In Is There a God? Swinburne presents a powerful and approachable case for the existence of God. Using the methods of scientific reasoning, Swinburne rigorously argues that science, far from replacing God, provides good grounds for belief in God. With each new discovery and advance, from black holes to quarks, superstrings to continuing evolution, science brings us closer to a complete understanding of how things work--but science can only go so far. Though it can explain much of how the universe works, science doesn't tell us why there is a universe at all. We can understand much of how life evolved, but why is there any life on earth? We can name and explicate scientific laws, but how is it that they operate in the universe? The Darwinian theory holds that the complex animal and human bodies that are here today exist because, ages ago, there were certain chemicals on earth, and given the laws of evolution, it was probable that complex organisms would emerge. But why those laws rather than any other? Why those chemicals? In Swinburne's view, the ultimate grand unifying theory is possible only by a belief in what he calls theism, acknowledging the existence of God: it was God who brought about the natural laws so that humans and animals would evolve. The watch may have been made, Swinburne asserts in reference to Richard Dawkins, with the aid of some blind screwdrivers (or even a blind watchmaking machine), but they were guided by a watchmaker with some very clear sight. At the heart of his argument is Swinburne's belief that the very success of science in showing us how deeply ordered the natural world is provides strong grounds for believing there is an even deeper cause of that order. By embracing a belief in God that acknowledges the truth in science, Swinburne's elegant argument supplies an essential spiritual element to our understanding of order and beauty, the structure beneath the chaos of the natural world. This informed and provocative volume will be essential reading for all readers of popular science, philosophy, and religion. (shrink)

In this book, Richard A. Jones highlights the importance of Ludwig Wittgenstein’s work for contemporary African American and Africana philosophy. The Black Book investigates the epistemic, linguistic, and political grounds from which inspiration might be drawn.

In this book, Richard A. Jones highlights the importance of Ludwig Wittgenstein’s work for contemporary African American and Africana philosophy. The Black Book investigates the epistemic, linguistic, and political grounds from which inspiration might be drawn.

In this paper, I explore political identity for African Americans in an era where the stated aim of the U.S. is global dominance. In ordinary language, I am interested in how blacks can effectively engage in dissent, civil disobedience, protest, insurrection, and revolutionary actions while surviving in an atmosphere where the majority believe either Bush I’s “A friend of my enemy is my enemy,” or Bush II’s “If you harbor terrorists, you’re a terrorist; if you aid and abet terrorists, you’re (...) a terrorist—and you’ll be treated like one.” This paper attempts to interrogate how African Americans—who identify with globally oppressed and distressed peoples—can survive while actively protesting within an armed camp. Or does being black in America mean that one is either a terrorist sympathizer or anUncle Tom? The answers to these questions require a coalition of the unwilling. (shrink)

_What does it mean when a radical understanding of National Socialism is inextricably embedded in the work of the twentieth century’s most important philosopher?_ Martin Heidegger’s sympathies for the conservative revolution and National Socialism have long been well known. As the rector of the University of Freiburg in the early 1930s, he worked hard to reshape the university in accordance with National Socialist policies. He also engaged in an all-out struggle to become the movement’s philosophical preceptor, “to lead the leader.” (...) Yet for years, Heidegger’s defenders have tried to separate his political beliefs from his philosophical doctrines. They argued, in effect, that he was good at philosophy but bad at politics. But with the 2014 publication of Heidegger’s _Black Notebooks_, it has become clear that he embraced a far more radical vision of the conservative revolution than previously suspected. His dissatisfaction with National Socialism, it turns out, was mainly that it did not go far enough. The notebooks show that far from being separated from Nazism, Heidegger’s philosophy was suffused with it. In this book Richard Wolin explores what the notebooks mean for our understanding of arguably the most important philosopher of the twentieth century, and of his ideas—and why his legacy remains radically compromised. (shrink)

Historically, for Black writers, literary fiction has been a site for transforming the discursive disciplinary spaces of political oppression. From 19th century “slave narratives” to the 20th century, Black novelists have created an impressive literary counter-canon in advancing liberatory struggles. W.E.B. Du Bois argued that “all art is political.” Many Black writers have used fiction to create spaces for political and social freedom—from the early work of Harriet Wilson’s Our Nig; or, Sketches from the Life of a (...) Free Black (1859)—to the enduring works of the Harlem Renaissance (Toomer, Hurston, and Schuyler)—to the great revolutionary Black literature after WWII (Wright, Baldwin, Williams)—to contemporary Black writers (Toni Morrison, Edward Jones, Samuel Delany)—Black fictive space continues to be a necessary site for resistance. Black literary fiction is a vast counter-canon to mainstream literature which unquestioningly reinforces global white supremacy, capitalistic political oppressions, and the dominance/subordinance relations upon which they depend. (shrink)

This photodocumentary reveals the second city through the stories and black-and-white images of its inhabitants.

The papyrus fragments that belong almost certainly to Sophocles' Inacbos have been admirably discussed by Pfeiffer andCarden.1 But one remarkable feature that has never been explained adequatelyis the apparent reference to a black Zeus. P. Oxy. 2369 contains a fragmentarydescription of a stranger turning Io into a cow with a touch of his hand and thenleaving the palace.

To be able to produce and understand metaphorical statements is nothing much to boast about: these familiar skills, which children seem to acquire as they learn to talk, are perhaps no more remarkable than our ability to tell and to understand jokes. How odd then that it remains difficult to explain what we do in grasping metaphorical statements. In a provocative paper, "What Metaphors Mean,"1 Donald Davidson has recently charged many students of metaphor, ancient and modern, with having committed a (...) "central mistake." According to him, there is "error and confusion" in claiming "that a metaphor has, in addition to its literal sense or meaning, another sense or meaning." The guilty include "literary critics like Richards, Empson, and Winters; philosophers from Aristotle to Max Black; psychologists from Freud and earlier to Skinner and later; and linguists from Plato to Uriel Weinreich and George Lakoff." Good company, if somewhat mixed. The error to be extirpated is the "idea that a metaphor has a special meaning" . If Davidson is right, much that has been written about metaphor might well be consigned to the flames. Even if he proves to be wrong, his animadversions should provoke further consideration of the still problematic modus operandi of metaphor. · 1. In "What Metaphors Mean," Critical Inquiry 5 : 31-47. All further references in text. Max Black is Susan Linn Sage professor of philosophy and humane letters emeritus at Cornell University and senior member of the Cornell program on science, technology, and society. His many influential works include Models and Metaphors, A Companion to Wittgenstein's Tractatus, and, most recently, Caveats and Critiques. During the fall of 1978 he was Tarner Lecturer at Cambridge University and is currently preparing a book on rationality based on those lectures. (shrink)

To be able to produce and understand metaphorical statements is nothing much to boast about: these familiar skills, which children seem to acquire as they learn to talk, are perhaps no more remarkable than our ability to tell and to understand jokes. How odd then that it remains difficult to explain what we do in grasping metaphorical statements. In a provocative paper, "What Metaphors Mean,"1 Donald Davidson has recently charged many students of metaphor, ancient and modern, with having committed a (...) "central mistake." According to him, there is "error and confusion" in claiming "that a metaphor has, in addition to its literal sense or meaning, another sense or meaning." The guilty include "literary critics like Richards, Empson, and Winters; philosophers from Aristotle to Max Black; psychologists from Freud and earlier to Skinner and later; and linguists from Plato to Uriel Weinreich and George Lakoff." Good company, if somewhat mixed. The error to be extirpated is the "idea that a metaphor has a special meaning". If Davidson is right, much that has been written about metaphor might well be consigned to the flames. Even if he proves to be wrong, his animadversions should provoke further consideration of the still problematic modus operandi of metaphor. · 1. In "What Metaphors Mean," Critical Inquiry 5 : 31-47. All further references in text. Max Black is Susan Linn Sage professor of philosophy and humane letters emeritus at Cornell University and senior member of the Cornell program on science, technology, and society. His many influential works include Models and Metaphors, A Companion to Wittgenstein's Tractatus, and, most recently, Caveats and Critiques. During the fall of 1978 he was Tarner Lecturer at Cambridge University and is currently preparing a book on rationality based on those lectures. (shrink)

Ponderings II–VI begins the much-anticipated English translation of Martin Heidegger's "Black Notebooks." In a limited edition binding, this series of small notebooks with black covers, Heidegger confided sundry personal observations and ideas over the course of 40 years. The five notebooks in this volume were written between 1931–1938 and thus chronicle Heidegger's year as Rector of the University of Freiburg during the Nazi era. Published in German as volume 94 of the Complete Works, these challenging and fascinating journal (...) entries shed light on Heidegger's philosophical development regarding his central question of what it means to be, but also on his relation to National Socialism and the revolutionary atmosphere of the 1930s in Germany. Readers previously familiar only with excerpts taken out of context may now determine for themselves whether the controversy and censure the "Black Notebooks" have received are deserved or not. This faithful translation by Richard Rojcewicz opens the texts in a way that captures their philosophical and political content while disentangling Heidegger's notoriously difficult language. (shrink)

Ponderings II–VI begins the much-anticipated English translation of Martin Heidegger's "Black Notebooks." In a limited edition binding, this series of small notebooks with black covers, Heidegger confided sundry personal observations and ideas over the course of 40 years. The five notebooks in this volume were written between 1931–1938 and thus chronicle Heidegger's year as Rector of the University of Freiburg during the Nazi era. Published in German as volume 94 of the Complete Works, these challenging and fascinating journal (...) entries shed light on Heidegger's philosophical development regarding his central question of what it means to be, but also on his relation to National Socialism and the revolutionary atmosphere of the 1930s in Germany. Readers previously familiar only with excerpts taken out of context may now determine for themselves whether the controversy and censure the "Black Notebooks" have received are deserved or not. This faithful translation by Richard Rojcewicz opens the texts in a way that captures their philosophical and political content while disentangling Heidegger's notoriously difficult language. (shrink)

Alexis de Tocqueville’s Democracy in America is one of the most celebrated 19th-century explorations of the rise of democracy as a social condition. However, Tocqueville is not the only political thinker of his immediate era to raise questions about the costs and benefits of democracy. This article will consider Stendhal’s novel The Red and the Black as an immediate precursor to Tocqueville’s criticisms of tyrannical public opinion and other ambivalent features of democracy. Like Tocqueville, Stendhal ponders the breakdown of (...) aristocratic standards of politeness and the equally oppressive sway of democratic public opinion that replaces them. Despite their shared assumptions about the challenges of democracy, however, Stendhal’s vision of freedom seems decidedly bleaker than Tocqueville’s. (shrink)

Quilts with "a black-and-white checked" pattern "for the NASCAR market" are stitched together by an Amish woman whose family uses an outdoor privy because church rules stipulate "no indoor plumbing"; an Amish man delivers cans of his milk to an Amish-owned neighborhood collection tank cooled by electricity because state laws require the refrigeration of milk. These are just a few of the images Karen Johnson-Weiner presents of the New York State Amish and their continuing effort to maintain a life (...) disconnected from the surrounding society upon which they are, to varying degrees, economically dependent. The Amish's struggle to preserve separate-from-the world communities and the diversity among the various Amish... (shrink)

This paper argues that what is needed to properly engage the human obsession with strangers and enemies is a critical hermeneutic capable of addressing the dialectic of others and aliens, that is, a hermeneutic that can solicit ethical decisions without succumbing to over hasty acts of binary exclusion. It is argued that we need to be able to critically differentiate between different kinds of otherness, while remaining alert to the deconstructive challenge to black-and-white judgements of us-versus-them. We need, at (...) critical moments, to expose the other in the alien and the alien in the other. (shrink)

I.WhatVintage ofCivilRights?In this paper I wish to compare and contrast two separate conceptions of civil rights and to argue that the older, more libertarian conception of the subject is preferable to the more widely accepted version used in the modern civil rights movement. The first conception of civil rights focuses on the question of individual capacity. The antithesis of a person with civil rights is the slave. But even if individuals are declared free, they are nonetheless denied their civil rights (...) if they are unable to own property, to enter into contracts, to make wills, to give evidence, and to sue (and be sued) in courts. With all these civil rights claims, the target of the individual grievance is the state; it has denied large classes of individuals the formal capacities that it recognized and protected in others. The Civil War was fought largely over slavery. In its aftermath, civil rights claims protecting individual capacity received explicit, if imperfect, statutory and constitutional protection. The postbellum protections didnotguarantee these rights in absolute fashion – that is, in a way that would not be susceptible to abridgment under any circumstances. Instead, civil rights were protected in what might be called a relative fashion: whatever rights of this sort were enjoyed by white citizens were to be enjoyed by the newly freed black citizens as well. (shrink)

Aristotle says in the De Sensu that other colours are produced through the mixture of black bodies with white. The obvious mixture for him to be referring to is the mixture of the four elements, earth, air, fire, and water, which he describes at such length in the De Generatione et Corruptione. All compound bodies are produced ultimately through the mixture of these elements. The way in which the elements mix is described in i. 10 and 2. 7. They (...) mix in such a way as to produce an entirely new substance, in which the characteristics of the original earth, air, fire, and water survive only in modified form. (shrink)

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope (...) and significance of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

"And I have felt / A presence that disturbs me with the joy / Of elevated thoughts; a sense sublime."--William Wordsworth A Sense Sublime is a record of a life lived during the last years of the twentieth century on the northern edge of the tallgrass prairies of Illinois, where seas of flowing grasses give way to the glaciated hills of Wisconsin. With camera in hand, Richard Quinney walked the streets and byways and traveled the country roads. Quinney watched (...) through his viewfinder the rising and passing of all things, giving attention to the wonder of daily existence. He captures the transcendental landscape; land and sky powerfully meld into one. The black and white of shadow on snow explores the light and darkness we know and experience in human existence. Gothic images of weathered homes and barns of long-gone settlers and shaded cemeteries still haunt the landscape, while romantic vistas of clouds majestically drifting over magnificent prairies instill an agrarian sublimity akin to Wordsworth or Thoreau. The photographs, from the end of a century, document the passing of the seasons and the years. Quinney's photographs are historical artifacts, framed of portions of the world within his spiritual eye, the camera's viewfinder. The photos, accompanied with notes from Quinney's journals, as well as the words of others, are extensions of the long tradition of transcendental writers, romantic poets, and landscape painters. They are Quinney's own attempt to solve the mystery of human existence and a way to experience the sublime in everyday life. These were the years lived as a camera. (shrink)

As the decade of the 1960s drew to a close, Richard Quinney walked the streets of Manhattan with camera in hand, documenting the life of the city. For forty years, as he relocated from one place to another, the photographs he had taken in Manhattan went with him. After the events of September 11, 2001, the photographic images acquired a meaning and significance beyond anything he could have imagined. Once Upon an Island contains 175 photographs of Manhattan, including color (...) photographs of the construction of the World Trade Center and black-and-white images that capture the experience of living on the island at the end of the 1960s. Like all photographs, these offer a stark reminder of the impermanence of all things; and yet at the same time, as artifacts they create an enduring record of a different time and place. (shrink)

Aristotle says in the De Sensu that other colours are produced through the mixture of black bodies with white . The obvious mixture for him to be referring to is the mixture of the four elements, earth, air, fire, and water, which he describes at such length in the De Generatione et Corruptione. All compound bodies are produced ultimately through the mixture of these elements. The way in which the elements mix is described in i. 10 and 2. 7. (...) They mix in such a way as to produce an entirely new substance, in which the characteristics of the original earth, air, fire, and water survive only in modified form. (shrink)

Up to the 1960s, psychology was deeply under the influence of behaviourism, which focused on stimuli and responses, and regarded consideration of what may happen in the mind as unapproachable scientifically. This began to change with the devising of methods to try to tap into what was going on in the 'black box' of the mind, and the development of 'cognitive psychology'. With the study of patients who had suffered brain damage or injury to limited parts of the brain, (...) outlines of brain components and processes began to take shape, and by the end of the 1970s, a new science, cognitive neuroscience, was born. But it was with the development of ways of accessing activation of the working brain using imaging techniques such as PET and fMRI that cognitive neuroscience came into its own, as a science cutting across psychology and neuroscience, with strong connections to philosophy of mind. Experiments involving subjects in scanners while doing various tasks, thinking, problem solving, and remembering are shedding light on the brain processes involved. The research is exciting and new, and often makes media headlines. But there is much misunderstanding about what brain imaging tells us, and the interpretation of studies on cognition. In this Very Short Introduction Richard Passingham, a distinguished cognitive neuroscientist, gives a provocative and exciting account of the nature and scope of this relatively new field, and the techniques available to us, focusing on investigation of the human brain. He explains what brain imaging shows, pointing out common misconceptions, and gives a brief overview of the different aspects of human cognition: perceiving, attending, remembering, reasoning, deciding, and acting. Passingham concludes with a discussion of the exciting advances that may lie ahead.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable. (shrink)

"To some people, life is very simple . . . no shadings and grays, all blacks and whites. . . . Now, others of us find that good, bad, right, wrong, are many-sided, complex things. We try to see every side; but the more we see, the less sure we are.".

This is a memorial essay on how the life and work of Charles W. Mills influenced my development as a Black philosopher. Employing Mills’s use of the Jamaican creole term smadditizin’—meaning “becoming recognized as somebody in a world where, primarily because of race, it is denied”—I trace how Mills helped me become a human self myself. Inspired by using his books as texts in courses I taught, and working with him in the Radical Philosophy Association, I learned what it (...) means to be an engaged philosopher. This essay also explores the controversy surrounding radical Black liberalism as a means for attaining personhood. Finally, I defend Mills as a canonical radical philosopher who never wavered from his fierce anti-colonialist, anti-white supremacist, and anti-capitalist stances. (shrink)

Categorical names such as “The English Novel,” “The Modern American Novel,” and “American Literature” often turn up in catalogs as titles of college courses, and we know from them pretty much what to expect. They also have standing in critical discourse, along with allied terms unlikely to serve as course titles: “good writing,” “great literature,” “serious fiction,” “literature” itself. The awareness has grown in recent years that such concepts pose problems, even though we use them with easy enough comprehension when (...) we talk or write to others who share our cultural matrix.Lately, critics like Raymond Williams have been reminding us that the categories change over time and that at any given moment categories embody complex social relations and a continuing historical process. That process deeply invests all terms with value: since not everyone’s values are the same, the negotiating of such concepts is, among other things, a struggle for dominance—whether between adults and the young, professors and their students, one class and another, or men and women. We don’t usually notice the power or the conflict, except when some previously weak or silent group seeks a share of the power: for example, when, in the 1960s, American blacks and their supporters insisted that black literature be included in school and college curricula, or when they openly challenged the candidacy of William Styron’s Confessions of Nat Turner for inclusion in some eventual canon.1 But the gradual firming up of concepts like, say, postwar American fiction is always a contest for cultural hegemony, even if in our society if is often muted—carried on behind the scenes or in the seemingly neutral marketplace. 1. See John Henrik Clarke, ed., William Styron’s Nat Turner: Ten Black Writers Respond . Richard Ohmann is professor of English at Wesleyan University. He is the author of English in America and is presently working on studies in mass culture. (shrink)

ABSTRACT This article examines the output of Uganda's official Photographic Section from the years of the Idi Amin regime, an archive of 60,000 black and white images from which have recently come to light in the stores of the Uganda Broadcasting Corporation in Kampala. Drawing on recent developments in African visual studies, the article focuses in particular upon what this archive reveals about photographic circulations in and from Amin's Uganda. It finds that this new trove of negatives -when compared (...) with press archives from around the world - is especially revealing of a growing nexus between official photography and all kinds of commercial photographies in the 1970s. This nexus played a key role in shaping both how the Amin regime was pictured at the time, and how its afterlife has continued to reflect down to the present time. (shrink)

Hardcover reprint of the original 1893 edition - beautifully bound in brown cloth covers featuring titles stamped in gold, 8vo - 6x9. No adjustments have been made to the original text, giving readers the full antiquarian experience. For quality purposes, all text and images are printed as black and white. This item is printed on demand. Book Information: Falckenberg, Richard Friedrich Otto. History Of Modern Philosophy From Nicolas Of Cusa To The Present Time. Indiana: Repressed Publishing LLC, 2012. (...) Original Publishing: Falckenberg, Richard Friedrich Otto. History Of Modern Philosophy From Nicolas Of Cusa To The Present Time,. New York, H. Holt And Company, 1893. Subject: Philosophy, Modern. (shrink)

This volume is product of the third online consciousness conference, held at http:// consciousnessonline. com in February and March 2011. Chapters range over epistemological issues in the science and philosophy of perception, what neuroscience can do to help us solve philosophical issues in the philosophy of mind, what the true nature of black and white vision, pain, auditory, olfactory, or multi-modal experiences are, to higher-order theories of consciousness, synesthesia, among others. Each chapter includes a target article, commentaries, and in (...) most cases, a final response from the author. Though wide-ranging all of the papers aim to understand consciousness both from the inside, as we experience it, and from the outside as we encounter it in our science. (shrink)

The increasing unethical practices of graduates’ admissions have heightened concerns about the integrity of the academy. This article informs this important subject that affects the students, admission systems, and the entire scientific community, thus, representing an approach against scholarly black market activities including falsified documents and unethical practices by consultants and students’ recruitment agencies.

The Princess Bride is the 1987 satirical adventure movie that had to wait for the Internet and DVDs to become the most quoted of all cult classics. The Princess Bride and Philosophy is for all those who have wondered about the true meaning of “Inconceivable!,” why the name “Roberts” uniquely inspires fear, and whether it’s truly a miracle to restore life to someone who is dead, but not necessarily completely dead. The Princess Bride is filled with people trying to persuade (...) each other of various things, and invites us to examine the best methods of persuasion. It’s filled with promises, some kept and some broken, and cries out for philosophical analysis of what makes a promise and why promises should be kept. It’s filled with beliefs which go beyond the evidence, and philosophy can help us to decide when such beliefs can be justified. It’s filled with political violence, both by and against the recognized government, and therefore raises all the issues of political philosophy. Westley, Buttercup, Prince Humperdinck, Inigo Montoya, the giant Fezzik, and the Sicilian Vizzini keep on re-appearing in these pages, as examples of philosophical ideas. Is it right for Montoya to kill the six-fingered man, even though there is no money in the revenge business? What’s the best way to deceive someone who knows you’re trying to deceive him? Are good manners a kind of moral virtue? Could the actions of the masked man in black truly be inconceivable even though real? What does ethics have to say about Miracle Max’s pricing policy? How many shades of meaning can be conveyed by “As You Wish”? (shrink)