Many supporters of ‘moral bioenhancement’, the use of biomedical interventions for moral improvement, have been criticised for having unrealistic proposals. The interventions they suggest have often been called infeasible and their implementation plans vague or unethical. I dispute these criticisms by showing that various interventions to implement MBE are practically and ethically feasible enough to warrant serious consideration. Such interventions include transcranial direct current stimulation over the medial and dorsolateral prefrontal cortex, as well as supplementation with lithium and omega-3. Considering (...) their efficacy and feasibility, it is strange that these interventions have rarely been proposed or discussed as MBE. I review evidence that each of those interventions can reduce antisocial behaviour, reduce racial bias, increase executive function or increase prosocial traits like fairness and altruism. I then specify and defend realistic, ethically permissible ways to implement these interventions, especially for violent offenders and public servants—the former as rehabilitation and the latter to meet the high standards of their occupations. These interventions could be given to violent offenders in exchange for a reduced sentence or compulsorily in some cases. Potential intervention methods for non-prisoners include increasing the USDA-recommended dose of omega-3, encouraging food companies to supplement their products with omega-3 or trace lithium, requiring MBE for employment as a police officer or political leader, and insurance companies providing discounts for undergoing MBE. In some reasonably limited form, using these interventions may be a good first step to implement the project of MBE. (shrink)

In this book, Xin Conan-Wu presents a radically revisionist analysis on Zhu Xi’s (1130–1200) Neo-Confucian philosophy of education. She argues that landscape and poems in twelfth-century academies bespeak his natural pedagogy and reveal unsuspected contributions to Chinese cultural sensibility by this emblematic figure of a stultifying orthodoxy.

This volume contains three of Conan Doyle's shorter Spiritualist works, one a record of family seances and the other two in defence of the evidence for the religion.

Transcutaneous auricular vagus nerve stimulation, a non-invasive alternative to vagus nerve stimulation with implantable devices, has shown promise in treating disorders such as depression, migraine, and insomnia. Studies of these disorders with resting-state functional magnetic resonance imaging have found sustained changes in resting-state functional connectivity in patients treated with low frequency taVNS. A recent study has reported reductions in pain scores in patients with rheumatoid arthritis after a 12-week treatment of high-frequency sub-threshold taVNS. However, no studies to date have examined (...) the effects of high-frequency sub-threshold taVNS on rsFC. The objective of this study was to determine whether high-frequency sub-threshold taVNS induces changes in rsFC using seed regions from the cingulate cortex and insula, brain regions that play a key role in interoception and processing of pain. With a single-blind placebo-controlled repeated measures experimental design, rsfMRI scans were acquired before and after 15 min of either sub-threshold taVNS treatment or a sham control. Significant taVNS-related changes in functional connections to the cingulate cortex were detected between the anterior cingulate cortex and right superior temporal gyrus and between the midcingulate cortex and right inferior parietal lobule. In addition, significant changes in functional connections to the insula were detected between the posterior insula and right precuneus and between the anterior insula and right cuneus gyrus. These results suggest that high-frequency sub-threshold taVNS can lead to sustained effects on the rsFC of brain regions involved in interoception and processing of pain in a cohort of healthy subjects. This study lays the foundation for future rsfMRI studies of high-frequency sub-threshold taVNS in clinical populations. (shrink)

Prior research has shown that human trafficking has multiple facets and is deeply enmeshed in societies around the world. Two central challenges for anti-trafficking organizations pertain to confronting systemic injustices and establishing caring organizations for survivors to start the process of healing and restoration. Analyzing the work of an anti-trafficking organization, International Sanctuary in Mumbai, we seek to elucidate how a space for caring for trafficking survivors is constructed in a largely non-egalitarian and unjust context. We contribute to discussions on (...) how caring infrastructures are possibly developed so that they do not write off existing gendered and in-egalitarian social structures and how they shape individual biographies. We also highlight how the specific, situated context—defined by those very structures—shapes and influences the transformative potential of care interventions. (shrink)

Conan, el niño del futuro (1978) es un dibujo animado oriental que plasma a una sociedad futurista que ha sobrevivido a la Tercera Guerra Mundial. El personaje principal, un niño de 10 años, aparece en la historia para impedir que el grupo hegemónico continúe con su pretensión de dominar el mundo, sin importar la tiranía que ejercen contra los ciudadanos. Para lograr ese vil propósito, las autoridades de Isla Industria han incurrido en escenarios en los que se observa la (...) esclavitud, la dificultad para expresarse con libertad y el sometimiento obligatorio a las decisiones del sistema. Esas actitudes no solo revelan un contexto recreado en un mundo ficcional, sino que es latente al apreciar las revueltas sociales de la actualidad. A ese tipo de manifestación por los derechos, se le agrega otra modalidad correlativa: la censura. Esta se concreta de forma implícita y sutil, con el objetivo de que las víctimas desacrediten sus derechos y no reclamen ante los abusos frecuentes de un gobierno que los sanciona, los encarcela o los exilia con injusticia. Su condición de peligro para la hegemonía es esencial, porque puede acarrear una toma de conciencia para los demás pobladores y una posible rebelión. Para finalizar, esta investigación se valdrá de las teorías poscoloniales e interculturales para evidenciar cómo un proyecto político se instaura en un anime japonés y, en especial, en el protagonista que desea reorientar a toda una sociedad, junto con ese sistema represivo inherente. (shrink)

From the time of its discovery, evolutionary theory has been shaped into dramatic narratives with human goals and value structures. Why has it been treated this way, often by its scientific proponents? Modern evolutionary psychology provides an answer. By appealing to universal human concerns, stories help map out the physical and social world, imbuing it with positive and negative values, visions of desirable and undesirable ways of life. Evolutionary theory contains no such imaginative mapping. As a nonmythological account of humanity, (...) it poses a universal challenge to the human mind, even as it stimulates by revealing unimagined facts. Darwin's contemporaries were the first to negotiate that balance. The new human self-narratives they created can help us understand the challenge we still face. In this article, I analyze two such narratives: one in T. H. Huxley's scientific monograph Evidence as to Man's Place in Nature and one in Arthur Conan Doyle's adventure novel The Lost World. (shrink)

On Goodness, by WolfsdorfDavid Conan. Oxford: Oxford University Press, 2019. Pp. xxii + 314.

Sir Arthur Conan doyle wrote fifty-six short stories and four novels about Sherlock Holmes, collectively known as the Canon. The following are all true facts about the Canon: It is true according to the Canon that Sherlock Holmes is a detective. It is true according to the Canon that Queen Victoria hired a private consulting detective, gave him an emerald tiepin, and offered him a knighthood which he refused. The Canon is about Sherlock Holmes. The Canon is about a (...) brilliant private detective who solves many crimes that baffle Scotland yard. The Canon is also about Queen Victoria .This paper argues that the truth of these and similar facts creates some tension for the theory that fictional characters are abstract objects. A proponent of this theory will have to treat sentences and as disanalogous, and to as similarly disanalogous, in a way that undercuts part of the motivation for accepting an ontology of fictional characters. (shrink)

"... fascinating throughout.... the book is recreative in the highest sense." —Arthur C. Danto, The New Republic "A gem for Holmes fans and armchair detectives with a penchant for logical reflection, and Peirce scholars." —Library Journal.

In this paper I explore informationalism, a pragmatic theory of modality that seems to solve some serious problems in the familiar possible worlds accounts of modality. I view the theory as an elaboration of Stalnaker's moderate modal realism, though it also derives from Dretske's semantic theory of information. Informationalism is presented in Section 2 after the prerequisite stage setting in Section 1. Some applications are sketched in Section 3. Finally, a mathematical model of the theory is developed in Section 4.How (...) many times have I said to you that when you have eliminated the impossible, whatever remains, however improbable, must be the truth? (Arthur Conan Doyle)You've put me in an impossible situation. (Anonymous)[N]othing we imagine is absolutely impossible. (David Hume). (shrink)

This paper explores the view that there are such things as (nonexistent) fictional objects, and that we refer to such objects when we say things like "Sherlock Holmes is a fictional detective", or "Conan Doyle wrote about Sherlock Holmes". A theory of such objects is developed as a special application of a Meinongian Ontology.

This paper explores the view that there are such things as (nonexistent) fictional objects, and that we refer to such objects when we say things like "Sherlock Holmes is a fictional detective", or "Conan Doyle wrote about Sherlock Holmes". A theory of such objects is developed as a special application of a Meinongian Ontology.

In lieu of an abstract, here is a brief excerpt of the content:What is Fantasy?Brian Laetz and Joshua J. JohnstonWizards, elves, dragons, and trolls—this is certainly the stuff of fantasy, populating the fictions of such giants as Tolkien, no less than the juvenilia of many aspiring writers. However, it is much easier to identify typical elements of fantasy, than it is to understand the category of fantasy itself. There can be little doubt that, in practice, the genre is pretty well (...) defined, concretely manifesting itself in the shelves reserved for it in video shops and bookstores. But stating why a work belongs on these shelves, rather than those in the near vicinity, such as horror and science fiction, or those more remote, like plain old fiction, presents a real challenge. Certainly, a mere few feet could separate fantasy from the other shelves, but the conceptual distance those feet represent appears great indeed. What, if anything, distinguishes this genre from other categories of mass art. In other words, what is fantasy?To begin, fantasy is a transmedia genre, since there are fantasy novels and movies, for instance, as is illustrated by J. R. R. Tolkien's Lord of the Rings saga and its recent cinematic adaptation. It is interesting to note that fantasy includes works from other media as well, such as paintings, which often accompany fantasy narratives, like Frank Frazetta's recognizable illustrations for Robert E. Howard's Conan the Barbarian stories. Forms of entertainment are also affiliated with the genre, such as role-playing games, like Dungeons and Dragons, though one might balk at considering such things even forms of mass art? Nonetheless, despite the variety of media and entertainments associated with fantasy, [End Page 161] narratives occupy a fundamental place within the genre. For paintings, drawings, and the like are only recognizably fantastic given some narrative background that tells us what wizards, trolls, and dragons look like.1 Plausibly, it is what allows us to see that a drawing depicts an elf, for example, rather than a child with odd pointy ears. Thus, even if some works of fantasy are, strictly speaking, non-narrative, fantastic narratives remain fundamental, since these other works would not be classified as fantasy without them. This warrants initially setting aside things like fantasy games and paintings to focus on narratives. What, precisely, makes a narrative fantastic?First, fantastic narratives are essentially fictional. For regardless of how one ultimately understands the nature of fiction, the notion of true fantasy seems patently incoherent, quite unlike, say, true crime. And it must be stressed that this point should be compatible with any theory of fiction. Second, the sort of things that can make a work fantastic, like wizards and dragons, must be prominent in the work—they cannot be minor details. For example, had there been a two-minute scene in Spartacus in which someone cast a spell, the scene would have been fantastic, but ultimately the movie would not be classified any differently; you would still find it on the drama shelf. Moreover, this condition is not peculiar to fantasy.2 For instance, no one who has suffered through a Steven Seagal film would seriously classify it as romance or even action-romance, simply because it has a minor romantic subplot. Fantasy is no different from any other genre in this regard: whatever features define a genre must be prominent in a work in order for it to belong to the relevant genre. Third, the sort of content that can make a work fantastic must not solely be viewed as symbols for things that are not fantastic. In other words, these elements cannot just be taken as allegorical.3 This alone would seem to disqualify George Orwell's Animal Farm from the genre, since most read the intelligent animals as merely symbols portraying various factions in communist Russia. It should be noted that the actual intentions of the author probably matter little here. For example, even if scholars discovered that Tolkien merely intended the Middle Earth saga as an elaborate allegory, it would remain fantasy; few would be tempted to move the books to another shelf. Fourth, the relevant content must not solely be mocked or lampooned within the work.4 This is necessary... (shrink)

This chapter focuses on one of the common fallacies in Western philosophy: red herring (RH). An RH is a distraction device and refers to an informal logical fallacy that detracts from the actual issue, allowing one to be sidetracked from what is actually happening and to draw a false conclusion. RHs can also be used as a literary device to steer readers off course such as in mystery novels like Perry Mason stories and, of course, Sherlock Holmes. Sir Arthur (...) class='Hi'>Conan Doyle's Sherlock Holmes: The Hound of the Baskervilles presents a classic example of an RH. If a topic is proposed, and we can speak or write about it without departing from the initial trail, then we have successfully avoided an RH fallacy. (shrink)

Terry Pratchett's writing celebrates the possibilities opened up by inventiveness and imagination. It constructs an ethical stance that values informed and self-aware choices, knowledge of the world in which one makes those choices, the importance of play and humor in crafting a compassionate worldview, and acts of continuous self-examination and creation. This collection of essays uses inventiveness and creation as a thematic core to combine normally disparate themes, such as science fiction studies, the effect of collaborative writing and shared authorship, (...) steampunk aesthetics, productive modes of "ownership," intertextuality, neomedievalism and colonialism, adaptations into other media, linguistics and rhetorics, and coming of age as an act of free will. In all Pratchett's constructed worlds and narratives-from Discworld, to the science-fictional flat planet of Strata, from a parody of Conan the Barbarian's Cimmeria to the comedically apocalyptic Good Omens-questions of identity, community, and the relations between self and other are constantly examined, debated, and reshaped. Pratchett's worlds thus become ethical worlds: fantasies in which language always matters, stories resonate with the past and the future, and choices emphasize the importance of compassion and creation. (shrink)

This paper examines critically the reconstruction of the ‘Sherlock Holmes sense of deduction’ proposed jointly by M.B. Hintikka and J. Hintikka in the 1980s, and its successor, the interrogative model of inquiry developed by J. Hintikka and his collaborators in the 1990s. The Hintikkas’ model explicitly used game theory in order to formalize a naturalistic approach to inquiry, but the imi abandoned both the game-theoretic formalism, and the naturalistic approach. It is argued that the latter better supports the claim that (...) the imi provides a ‘logic of discovery’, and safeguards its empirical adequacy. Technical changes necessary to this interpretation are presented, and examples are discussed, both formal and informal, that are better analyzed when these changes are in place. The informal examples are borrowed from Conan Doyle’s The Case of Silver Blaze, a favorite of M.B. and J. Hintikka. (shrink)

Abstract This article examines major methodological issues in Gramsci?s writings that are relevant for re?thinking contemporary political relationships, by considering his use of the ?particular?. It draws on Gramsci?s notes on Chesterton?s Father Brown stories, including his contrast between ?old? Catholic Europe and ?new? Protestant, positivist America, and discusses Gramsci?s critique of positivism and populism with reference to his writings on the palaeontologist Cuvier and the criminologist Cesare Lombroso. It links Gramsci?s use of details and fragments from diverse sources, Father (...) Brown?s methods, and the practice of psychoanalysis. Gramsci?s criticism of Conan Doyle is contrasted with Freud?s admiration for him. It examines the tensions involved in interrogating seemingly unimportant, ?everyday? material and in engaging with the innate conservatism of popular ?common sense? beliefs, whose ?good sense? is nonetheless the necessary point of departure for mass politics. At the same time it argues that in addressing major social and political issues, the ?general?, universal or hegemonic cannot be derived from the ?particular?. It connects these themes to contemporary questions about the status and objectives of different kinds of knowledge and the split between politics and people. It suggests that Gramsci?s aim to go beyond the dichotomy between rationalism and irrationalism has profound implications both for understanding his writings and for their use in contemporary political analysis. (shrink)

The starting point of this paper is a statement that Benjamin makes in a group of notes he writes for his project of a detective novel. Benjamin writes here that «criminal and detective could be so friends [so befreundet sein] as Sherlock Holmes and Watson». We’ll try to understand the meaning of this statement through the investigation of the detective topic in two moments of its fore and afterlife: its fore life in Benjamin’s meditation on the baroque and its after (...) life in Sherlock Holmes’s most recent apparition, in the BBC series Sherlock. One of the most interesting elements of this series is in fact the relationship – which is barely sketched in Conan Doyle’s stories – between Sherlock Holmes and his antagonist, the maths professor Jim Moriarty. We’ll see that in Benjamin’s notes for a detective novel the criminal is not a maths professor but a psychoanalyst. What is the difference, anyway, between professor Moriarty’s knowledge and Sherlock’s knowledge? In fact, we will find out that criminal and detective are closer to one other than what we may be induced to think – close but not coincident. (shrink)

In recent metaphysics, the questions of whether fictional entities exist, what their nature is, and how to explain truths of statements such as “Sherlock Holmes lives at 221B Baker Street” and “Holmes was created by Arthur Conan Doyle” have been subject to much debate. The main aim of my thesis is to wrestle with key proponents of the abstractionist view that fictional entities are abstract objects that exist (van Inwagen 1977, 2018, Thomasson 1999 and Salmon 1998) as well as (...) Walton’s (1990) pretense view, which denies the existence of such entities. In the process, I propose modifications to these views to deal with problems they face and show how the modifications better account for the philosophical data. -/- Key abstractionists (van Inwagen 1977, Thomasson 1999) make a strict distinction between discourse within fiction, in which statements about literary characters cannot be literally true, and discourse about fiction, as it occurs in literary criticism, where statements about fictional characters can be literally true. Fictional objects are postulated to account for the truth of the latter. This runs into trouble because statements thought to be literally true are not literal. (Yagisawa 2001, Friend 2002) I provide a uniform analysis to account for the truth of statements involving fictional characters by appealing to a presupposition involving a metaphor in both contexts. The presupposition is that there is an x such that x is fictional; x is likened to a real person; and x is and ought to be treated/counted as a real person for all relevant intents and purposes. -/- More generally, I adopt Everett and Schroeder’s (2015) realist view that fictional characters are ideas constituted by mental representations. This, to me, better accounts for how fictional characters are created within the world’s causal nexus (unlike non-spatiotemporal entities in abstractionism), among other things. One key challenge they face is to explain how ideas can possess properties such as being a detective. I present a fine-grained version of their view, according to which the mental representations constituting fictional entities encode mind-dependent properties. Moreover, I explain how reference to such representations is possible, using Bencivenga’s (1983) Neo-Kantian view of reference and Karttunen’s (1976) view on discourse referents. Finally, I suggest that the identity of fictional characters is interest-relative. The constant, and sometimes radical, change of properties that, fictional characters can undergo is taken to be a consequence of the fact that unified mental representations are bundles of simpler mental representations. As change occurs, simpler representations are replaced by others. -/- A key theme that runs through the thesis is that neither fictionality nor pretense is relevant to the semantics of fictional sentences—a claim bolstered by Matravers’ (2014) arguments. Whether or not my account works, this claim, as well as the new philosophical data I bring up, are some of the challenges I pose to the heart of established views. (shrink)

On October 14, 2003, the Supreme Court announced that it would not review a Ninth Circuit Appeals Court ruling that enjoined the federal government from punishing doctors who recommend medical use of marijuana to their patients. The Ninth Circuit case, Conan v.Walters, drew a fine line in distinguishing betweendispensing information and dispensing controlled substances, and held that [p]hysicians must be able to speak frankly and openly to patients under the First Amendments. Although unauthorized use and distribution of marijuana is (...) prohibited, the court found that a doctor s recommendation does not itself constitute illegal conduct that doctors should be free to recommend the use of medical marijuana if based on sincere medical judgment, without fear of retaliation by a government probe or prosecution. (shrink)

Appréciée tant du grand public que de la communauté des « holmésiens », la série télévisée Sherlock de Mark Gatiss et Steven Moffat (BBC, 2010-) est une fidèle adaptation, dans le monde contemporain, des histoires du personnage littéraire humain le plus souvent porté à l’écran. On explique généralement la popularité de l’ami du docteur Watson par le fait qu’il incarnerait le triomphe rassurant de la raison scientifique sur le désordre social engendré par la criminalité. Au-delà d’autres qualités du show, ce (...) texte fait l’hypothèse que le succès du personnage et la réussite de la série viennent d’abord de ce que le monde dans lequel Sherlock Holmes agit chez Conan Doyle n’est pas plus ordonné que celui dans lequel nous vivons aujourd’hui. Dans cette perspective, le célèbre détective est moins un scientifique dont les certitudes auraient pour principale vertu de nous rassurer, qu’un philosophe susceptible de nous apprendre à vivre avec l’incertitude. (shrink)

The detective fiction of the tradition initiated by Poe and Conan Doyle and continued by Agatha Christie, Dorothy Sayers, Rex Stout and others proposes the unquestioning acceptance of cognitive rationality as a virtually-infallible tool for problem solving and as an instrument of knowledge. In the Holmes narratives, linear reasoning, based on observation grounded in the assumption that phenomena can be “read” in terms of a direct correlation between visual detail and connotative or denotative meanings, is presented as the only (...) true path towards knowledge and understanding. Thus, the narratives implicitly discard the critical and autonomous rationality proposed by Kant. Through their dogmatic insistence on a particular analytical method, they advocate a monist rationality which is repressive and alienated from the reader, in that s/he is not required to be a critical participant, but remains a passive admiring onlooker. (shrink)

Główną tezą artykułu jest próba udowodnienia istnienia zapomnianego ogniwa kryminału retro w dobie PRL na przykładzie opowiadań Sławomira Siereckiego. W tym kontekście autorka interpretuje utwory, które ukazały się pod wspólnym tytułem Jutro przed północą. Znajdujemy w nich intertekstualny dyskurs z twórczością Conan Doyle’a, Arsena Lupina i kryminału amerykańskiego. Sierecki nawiązuje w ich obrębie do trzech odmian powieści detektywistycznej, prezentując kryminalne historie od końca XIX wieku aż po rok 1929. Analizowane opowiadania łączy formuła pastiszowych odniesień do wspomnianych twórców oraz towarzysząca (...) im sceneria Trójmiasta (Gdańska, Sopotu i Gdyni). Historia nie tylko jest tu dekoracją, ale poddana zostaje ideologizacji w ramach prezentacji polityki historycznej, najbardziej widocznej w Szkatułce z Hongkongu. Autorka w swojej interpretacji opowiadań skupia się przede wszystkim na odczytaniu charakteru kryminalnego dyskursu, gdyż jest on głównym wyznacznikiem tej retropowieści i to dzięki niemu można uznać opowiadania Siereckiego za początkowe ogniwo kryminału retro w polskiej literaturze. Nieprzypadkowo ta ucieczka w przeszłość wiąże się z kryzysem powieści milicyjnej w schyłkowym okresie PRL. (shrink)

The Thing about Thugs a novel by Tabish Khair set between London and the Indian region of Bihar, the end of 1830’s and contemporary age, reflects on the relationship regarding the transmission of knowledge and the construction of the colonial criminal. I investigate how Khair, in his neo-Victorian and postcolonial novel, recalls canonical works of Victorian Literature in which thugs, together with other spectral, haunting figures, enter British territory to tell a different version of the official stories, to change the (...) course of the events and uncover truths regarding things happened overseas, during British colonial adventures. Starting from Meadows Taylor’s “Confessions of a Thug”, to which the novel is strictly connected, it will be interesting to follow Khair’s itinerary across the different narratives of the Thug’s symbolic, political and social meanings in mid- and late Victorian times, from Dickens’s "The Mystery of Edwin Drood” to Wilkie Collins’s “The Moonstone” and Conan Doyle’s “The Sign of Four” and “The Mystery of Cloomber”. (shrink)

The Thing about Thugs (2010) a novel by Tabish Khair set between London and the Indian region of Bihar, the end of 1830’s and contemporary age, reflects on the relationship regarding the transmission of knowledge and the construction of the colonial criminal. I investigate how Khair, in his neo-Victorian and postcolonial novel, recalls canonical works of Victorian Literature in which thugs, together with other spectral, haunting figures, enter British territory to tell a different version of the official stories, to change (...) the course of the events and uncover truths regarding things happened overseas, during British colonial adventures. Starting from Meadows Taylor’s Confessions of a Thug, to which the novel is strictly connected, it will be interesting to follow Khair’s itinerary across the different narratives of the Thug’s symbolic, political and social meanings in mid- and late Victorian times, from Dickens’s The Mystery of Edwin Drood to Wilkie Collins’s The Moonstone and Conan Doyle’s The Sign of Four and The Mystery of Cloomber. (shrink)

In this essay I propose an interpretative and explanatory structure for the so-called argumentum ex silento, or argument from silence (henceforth referred to as the AFS). To this end, I explore two examples, namely, Sherlock Holmes’s oft-quoted notice of the “curious incident of the dog in the night-time” from Arthur Conan Doyle’s short story “Silver Blaze,” and the historical question of Paul of Tarsus’s silence on biographical details of the historical Jesus. Through these cases, I conclude that the AFS (...) serves as a dialogical topos best evaluated and understood through the perceived authority of the arguer and the willingness of the audience to accept that authority, due to the “curious” nature of the negative evidence that the argument employed. (shrink)

The philosopher Ludwig Wittgenstein chose as his prime exemplar of certainty the fact that the skulls of normal people are filled with neural tissue, not sawdust. In 1980 the British pediatrician John Lorber reported that some normal adults, apparently cured of childhood hydrocephaly, had no more than 5 % of the volume of normal brain tissue. While initially disbelieved, Lorber’s observations have since been independently confirmed by clinicians in France and Brazil. Thus Wittgenstein’s certainty has become uncertain. Furthermore, the paradox (...) that the human brain’s information content appears to exceed the storage capacity of even normal-sized brains, requires resolution. This article is one of a series on disparities between brain size and its assumed information content, as seen in cases of savant syndrome, microcephaly, and hydrocephaly, and with special reference to the Victorian era views of Conan Doyle, Samuel Butler, and Darwin’s research associate, George Romanes. The articles argue that, albeit unlikely, the scope of explanations must not exclude extracorporeal information storage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editors’ Introduction“Between the Bible and the Philosophers”: ShakespearePeter Atterton (bio) and Sean Lawrence (bio)It is not clear when Levinas first read Shakespeare, but we do have some clues. The first complete translation of Shakespeare’s works into Russian, Levinas’s mother tongue, appeared between 1865 and 1868. These volumes doubtless graced the shelves of his family’s bookstore in Kovno (now Kaunas), in Lithuania, then part of the Russian empire. Kovno served (...) as capital of one of three губернии gubernias (provinces), but also as the de facto center of Lithuanian intellectual life. The family bookstore catered to the highbrow tastes of government officials and served the needs of teachers and students at the local lycée. One also imagines that it fired the literary imagination of the young Levinas, who taught himself to read Russian at a young age. However, it would have been highly unusual for one so young, even for one as precocious as Levinas, to have read Shakespeare recreationally and self-educationally during this period (1906–1915). It probably was not until he entered the lycée in Kharkov, in Tsarist Ukraine, where his family emigrated at the beginning the Great War, or after his family’s return in 1920 to Lithuania, where Levinas attended the Hebrew lycée in Kovno, that Levinas read Shakespeare for the first time. We know that Russian gymnasiums and technical schools assigned Shakespeare.1 His gymnasium education, between the ages of eleven and seventeen, is therefore the latest point by which Levinas could have read Shakespeare for the first time, though we do not know what or how much.He certainly acknowledged Shakespeare’s influence on his early thought. In an interview broadcast on Radio France Culture in February 1981, Philippe Nemo asked Levinas what were “the first great books” he encountered, “the Bible or the philosophers?” Levinas answered by saying that he read the Bible while very young but only began to read philosophy with any seriousness at university. He proceeded, however, to volunteer a third category of great books, [End Page 1]between the Bible and the philosophers, the Russian classics—Pushkin, Lermontov, Gogol, Turgenev, Dostoyevsky and Tolstoy, and also the great writers of Western Europe, notably Shakespeare, much admired in Hamlet, Macbeth and King Lear.2If we treat this as a chronology, then Levinas would have first read Shakespeare at some time “between” the age of six, when he began reading the Bible and other Hebrew texts with a private tutor, and the age of seventeen, when he enrolled at the University of Strasbourg.A polyglot, Levinas could have read Shakespeare in English as well as in Russian translation, but also in French, German, or Hebrew translation. For that matter, he could have read it in Lithuanian translation.3 We don’t know which French edition he read first or drew upon most closely.4 In Time and the Other, he follows the translation of Émile Montégut for Macbeth but for Romeo and Juliet, as noted in Sean Lawrence’s article, he does not repeat verbatim any of the major translations. When he quotes Shakespeare in English, he follows an original spelling edition. In the notebooks that he kept during imprisonment, and part of which we have translated here, Levinas appears to quote Shakespeare in English from memory, but incorrectly.This error notwithstanding, the Carnets de captivité show the imprisoned Levinas reading widely in English. Perhaps he expected a victory by the anglo-phone powers, or perhaps he practiced a sort of defiance in reading the language of his captors’ enemies, or perhaps he sought to strengthen his understanding of one of the European languages he had neglected in the precocity of his youth. Besides Shakespeare, we find him reading D. H. Lawrence’s Lady Chatterley’s Lover and Charles Morgan’s Sparkenbroke within our selection. Elsewhere in the notebooks, he refers to Arthur Conan Doyle, Charles Dickens, L. Ryder Haggard, Maurice Baring, Millen Brand, Pearl Buck, and Edgar Allan Poe.5 His references range from the cursory—in the case of Brand’s The Outward Room, it consists only of its title and author—to the surprisingly detailed and suggestive. After reading... (shrink)

There are things of which it is true to say that there are no such things. How can we resolve this paradox? Panayot Butchvarov argues that there are objects of reference that are not also entities, where the former must merely be thinkable but the latter must be indefinitely re-identifiable. This paper argues that fictional and many other unreal objects are indeed indefinitely re-identifiable, so they must be counted as existing things on Butchvarov's theory. The paradox is best resolved by (...) distinguishing among domains of existence: Sherlock Holmes exists in the unrestricted domain of objects and in the fictional domain created by Conan Doyle, but not in the domain of the real world. Thus to exist and to be real are different things; all objects exist in some domain, but only real objects really exist. (shrink)