First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Animals and War: Confronting the Military-Animal Industrial Complex is the first book to examine how nonhuman animals are used in war and the military. Animals and War contributes significantly to the fields of social justice, animal rights, and anti-war/peace activist communities. This book also will be read by peace, conflict, social justice, and critical animal studies scholars, students, and practitioners.

Every student of the early history of mankind, and their numbers have greatly increased of recent years, must be well acquainted with the recent conflict between the advocates of diffusion in interpreting the origins and world-wide manifestations of civilization and those of independent development, or, in more exact terms, of the spontaneous generation of cultures. To an unbiassed observer of the evidence, it must also be a matter of astonishment that the ethnologists of the latter school have for so long (...) refused to admit a distribution of ideas, beliefs and customs which are not only of proved historical but daily and common occurrence. It is impossible to enter a library or a club, or to walk down Regent Street and look into the shop windows, without realizing that world-diffusion is the very stuff of civilized existence. It is impossible to travel the remoter regions of the globe to-day without being constantly reminded of London, Leeds and Manchester. Nobody, again,would dream of controverting the known phenomena of the spread of great religions, Christianity, Mohammedanism, Buddhism, from a single original centre. The school of independent development of cultures not merely ignores or twists to its own purposes a gigantic mass of evidence bearing upon the subject in dispute and capable of being interpreted in only one way; it displays a singular disregardof common sense and human nature. The innate conservatism of humanity, its readiness to live on the. (shrink)

ABSTRACTThe financial crisis of 2008 was unforeseen partly because the academic theories that underpin policy making do not sufficiently account for uncertainty and complexity or learned and evolved human capabilities for managing them. Mainstream theories of decision making tend to be strongly normative and based on wishfully unrealistic “idealized” modeling. In order to develop theories of actual decision making under uncertainty, we need new methodologies that account for how human actors often manage uncertain situations “well enough.” Some possibly helpful methodologies, (...) drawing on digital science, focus on the role of emotions in determining people's choices; others examine how people construct narratives that enable them to act; still others combine qualitative with quantitative data. (shrink)

Journal Name: Semiotica Issue: Ahead of print.

William Godfrey-Smith is now William Grey. It is agreed that the moral community can be justifiably extended to include sentient non-humans, however, it is claimed that it is possible to give up human chauvinism without adopting the ethic Godfrey-Smith advocates. Feinberg's interest principle is taken by Godfrey-Smith to be the most promising for demarcating the class of individuals to whom rights can be properly attributed. It is claimed that this principle does not force an extension of the (...) class of rights-holders beyond the class of sentient individuals, as claimed by Godfrey-Smith, to include individual trees, rainforests, soils and whole species. The crucial difference, it is claimed, is that sentient individuals but not plants are the subjects of experience. It is claimed that Godfrey-Smith has not provided sufficient argument to force an extension of the class of right-bearers in the way he advocates. Godfrey-Smith opposes the view that all values are grounded in human interest and concern, however, it is not necessary to accept his conclusion in order to argue against this position. Finally, it is not clear that he has produced an argument that shows there is no dependence between value and valuers analogous to the dependence between, say, lies and liars. (shrink)

While the British Empire conventionally is recognized as a source of research subjects and objects in anthropology, and a site where anthropological expertise might inform public administration, the settler-colonial affiliations and experiences of many leading physical anthropologists could also directly shape theories of human variation, both physical and cultural. Antipodean anthropologists like Grafton Elliot Smith were pre-adapted to diffusionist models that explained cultural achievement in terms of the migration, contact and mixing of peoples. Trained in comparative methods, (...) these fractious cosmopolitans also favoured a dynamic human biology, often emphasizing the heterogeneity and environmental plasticity of body form and function, and viewing fixed, static racial typologies and hierarchies sceptically. By following leading representatives of empire anatomy and physical anthropology, such as Elliot Smith and Frederic Wood Jones, around the globe, it is possible to recover the colonial entanglements and biases of interwar British anthropology, moving beyond a simple inventory of imperial sources, and crediting human biology and social anthropology not just as colonial sciences but as the sciences of itinerant colonials. (shrink)

During the first decades of the 20th century, many anthropologists who had previously adhered to a linear view of human evolution, from an ape via Pithecanthropus erectus and Neanderthal to modern humans, began to change their outlook. A shift towards a branching model of human evolution began to take hold. Among the scientific factors motivating this trend was the insight that mammalian evolution in general was best represented by a branching tree, rather than by a straight line, and that several (...) new fossil hominids were discovered that differed significantly in their morphology but seemed to date from about the same period. The ideological and practical implications of imperialism and WWI have also been identified as formative of the new evolutionary scenarios in which racial conflict played a crucial role. The paper will illustrate this general shift in anthropological theory for one particular scientist, William Sollas. Sollas achieved a synthesis of human morphological and cultural evolution in what I will refer to as an imperialist model. In this theoretical framework, migration, conflict, and replacement became the main mechanisms for progress spurred by 'nature's tyrant,' natural selection. (shrink)

Elliot R. Wolfson is Professor of Religious Studies and the Marsha and Jay Glazer Chair of Jewish Studies at the University of California, Santa Barbara.

From the late-fifteenth century onwards, scholars across Europe began to write books about how to read and evaluate histories. These pioneering works - which often take surprisingly modern-sounding positions - grew from complex early modern debates about law, religion, and classical scholarship. In this book, based on the Trevelyan Lectures of 2005, Anthony Grafton explains why so many of these works were written, why they attained so much insight - and why, in the centuries that followed, most scholars gradually (...) forgot that they had existed. Elegant and accessible, What Was History? is a deliberate evocation of E. H. Carr’s celebrated and icononclastic Trevelyan Lectures on What Is History?, and will appeal to a broad readership of students, scholars and historical enthusiasts. Anthony Grafton is one of the most celebrated historians writing in English today, and What Was History? is a powerful and imaginative exploration of some central themes in the history of European ideas. (shrink)

Children are not simply molded by the environment; through constant inference and interpretation, they actively shape their own social world. This book is about that process. Elliot Turiel's work focuses on the development of moral judgment in children and adolescents and, more generally, on their evolving understanding of the conventions of social systems. His research suggests that social judgements are ordered, systematic, subtly discriminative, and related to behavior. His theory of the ways in which children generate social knowledge through (...) their social experiences will be of interest to a wide range of researchers and students in child development and education. (shrink)

Counseling Ethics for the 21st Century prepares students to address ethical issues arising in contemporary counseling practice. Drawing on their own clinical and practical experiences, authors Elliot D. Cohen and Gale Spieler Cohen present detailed, realistic, and engaging clinical case studies along with a comprehensive five-step model that can be used to manage the complex ethical problems raised throughout the book. Each chapter focuses on particular virtues in the context of examining a particular counseling issue, including online counseling, digital (...) record keeping, and social media. Students will be empowered to define problems, identify relevant facts, conduct ethical analyses, and make the best decisions for their clients. (shrink)

Ethics at the Center culls the best of Rabbi Elliot Dorff's pioneering thinking in Jewish ethics over the course of nearly five decades.

In this erudite new work, Elliot R. Wolfson explores philosophical gnosis in the writings of Susan Taubes, Gillian Rose, and Edith Wyschogrod. The juxtaposition of these three extraordinary, albeit relatively neglected, philosophers provides a prism through which Wolfson scrutinizes the interplay of ethics, politics, and theology. The bond that ties together the diverse and multifaceted worldviews promulgated by Taubes, Rose, and Wyschogrod is the mutual recognition of the need to enunciate a response to the calamities of the twentieth century (...) based on an incontrovertible acknowledgment of the decadence and malevolence of human beings, without, however, succumbing to acrimony and despair. The speculation of each of these philosophers on melancholia and the tragicomedy of being is unquestionably intricate, exhibiting subtle variations and idiosyncrasies, but we can nevertheless identify a common denominator in their attempt to find the midpoint positioned between hope and hopelessness. As Wolfson articulates, Taubes, Rose, and Wyschogrod exemplify a philosophical sensibility informed by a nocturnal seeing, which is not merely a seeing in the night but rather a seeing of the night. Ultimately, the book reveals the potential for these thinkers' ideas to enhance our moral sensitivity and to encourage participation in the ongoing struggle for meaning and decency in the present. (shrink)

I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (shrink)

The space we create -- Surfaces -- Shaping the self -- The hidden hand -- Pulling strings -- Perspectives -- Learning to solve problems -- Purpose -- Costs -- Of one mind.

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: (...) when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)

Elliot R. Wolfson intervenes in the debate over Martin Heidegger and Nazism from a unique perspective, as a scholar of Jewish mysticism and philosophy who has been profoundly influenced by Heidegger's work. He reveals crucial aspects of Heidegger's thinking that betray an affinity with dimensions of Jewish thought.

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The History of Ideas:Precept and Practice, 1950–2000 and BeyondAnthony GraftonIn the middle years of the twentieth century, the history of ideas rose like a new sign of the zodiac over large areas of American culture and education. In those happy days, Dwight Robbins, the president of a fashionable progressive college, kept "copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that (...) had no name" on the table in his waiting room. True, Robbins did not exist: he was the fictional president of Randall Jarrell's equally fictional Benton, a liberal arts dystopia where "[h]alf of the college was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe."1 But Jarrell's notation of the Journal's status was accurate nonetheless.2The Journal, in the twenty years or so after its foundation, attracted attention from many quarters, some of them unexpected. And it occupied a unique position, between the technical journals of history and philology, [End Page 1] each firmly identified with a discipline, in which professional humanists normally published their results, and the quarterlies, often based not in disciplines but in liberal arts colleges and universities, which cultivated a mixed readership to which they offered fiction and poetry as well as essays. By contrast with both, the JHI fifty years ago ran on a rich mix of technical articles and wide-ranging essays that could easily have attracted the attention of a sophisticated administrator—or at least made a good impression on his coffee table. Bliss was it to be a subscriber in that happy day when the JHI glowed with something of the luster that haloed Representations in the 1980s and Critical Inquiry more recently.3The main reason for the Journal's prominence was that it represented a new field, appealingly located between disciplines as the Journal was between other sorts of periodical. In its postwar heyday, the history of ideas was not a dim subdivision of history, itself a discipline whose luster has worn off with time, but an intellectual seismic zone where the tectonic plates of disciplines converged and rubbed against one another, producing noises of all sorts. In recent years, it has sometimes seemed impossible, even to the best informed observers, that intellectual history, or the history of ideas, ever enjoyed this sort of prestige. A quarter century ago, Robert Darnton surveyed the state of intellectual and cultural history in the United States in an informative and influential essay. Using a language more resonant of the historical President Carter than the fictional President Robbins, Darnton detected "malaise" everywhere he looked. In the fifties, he noted, intellectual historians had seen "their discipline as the queen of the historical sciences. Today she seems humbled." True, desperate cries for help were not yet called for. Historians continued to write histories of ideas, and even to cast them in the technical languages of A.O. Lovejoy or Perry Miller: "one still finds 'unit-ideas' and 'mind' among the trendier terms." The just-published Dictionary of the History of Ideas, moreover, offered a vast selection of Lovejoyan formal analyses, systematically organized, to the reading public.4 [End Page 2]But for the last ten years, Darnton argued, younger scholars, especially graduate students, had been scrambling over the gunwales of the good ship History of Ideas, abandoning the effort to converse abstractly with the mighty dead, and clambering in hordes over the side of a newer vessel, Social History, which boasted a Hogarthian passenger list of heretics, misfits, and military women. At the level of the dissertations written in history departments, social history was outpacing intellectual, by a proportion of three to one. At the level of the scholarly journal, too, social history had forged ahead, though by a smaller margin. In the murkier, but no less significant, world of opinion, finally, the decline of intellectual history appeared clearest. History of ideas no longer occupied the cutting edge in young scholars' mental vision of their discipline.Social history, after all, had captured the minds of a generation—or a large percentage of it—in the 1960s, thanks both to the power of... (shrink)

In this study, I examine Susan Taubes’s criticism of Heidegger’s Seinsdenken that pivots around her contention that he absolutized the nothingness of being in a manner that is analogous to but yet significantly different than the role assigned to the Godhead on the part of many mystical visionaries. The common denominator is in Heidegger’s insistence on being to the neglect of fully engaging with the rhythms of life. As a consequence, there is no purchase on the chaotic, which falls outside (...) the purview of what can be signified, and in the absence of the unsignifiable, there can be no signification. Every attempt to reconstruct the broken world into a totality contains the flaw of an ontological untruth. The effort at totalization is not only the methodological weakness of tragedy and mysticism, but it is also the nihilistic basis of the role accorded to the nothingness of being in Heidegger’s Seinsdenken. The erroneous nature of the world is not denied by Susan, but she struggled to uphold the ontological untruth that what is most wrong in our existence is what is most precious. The paradoxical retrieval of the truth of this untruth affords the poetic soul the opportunity to confront the limit by breaking it, an infringement of boundary that is redolent equally with the enduring transience of love and the transient endurance of death. (shrink)

The Body in French Queer Thought from Wittig to Preciado: Queer Permeability identifies a common concern in French queer works for the materiality of the body, and argues for a return to the body as fundamental to queer thought and politics, from HIV onwards.