This work is a detailed analytical study of different forms of silent doing. It explores a range of topics related to silence, including the theory of silent doing and its relationship to other forms of action and communication, silence and aesthetics, the ethics and politics of silence, and the religious dimensions of silence. The book, as an original contribution to analytical philosophy, should be of interest to philosophers and students. ".

CHAPTER ONE PHILOSOPHICAL ANALYSIS: A GENERAL DISCUSSION The terms 'analysis' and 'analyse' are used in all sorts of ways in ordinary discourse and in ...

In an earlier paper I have attempted to show, among other things; that the names of human artifacts and man-devised activities and processes involve in their uses the notion of some end-in-view, function, or use , which partially regulates these uses. In this paper I shall limit myself to a somewhat detailed discussion of one very important class of such common names which requires a separate treatment. I mean art-names.

"Community and Communitarianism" presents - and defends in detail - a care-centered ideal of a good and moral community: a form of social organization imbued with the virtues of a care-centered ethic, such as cooperation ; mutual concern and solidarity; sympathy and empathy; benevolence; a spirit of sacrifice; and affection, love, and caring. It is argued that a care-centered ethic, hence a care-centered community, needs to be constrained and fortified by equal respect for the participants' basic human right to be (...) treated as moral subjects, together with fair and just treatment. Besides contributing to social philosophy, the book contributes significantly to ethics.". (shrink)

In a recent article, George Schlesinger adds his thoughts to the quite extensive literature on the Problem of Evil and the Problem of Suffering. What is noteworthy about this article is the fact that the author, after briefly discussing a number of familiar arguments for and against the traditional theistic conception of God as both omnipotent and perfectly good, attempts to dissolve the problem itself as a pseudo-problem. In the present paper I wish to try to show that Schlesinger's attempt (...) fails, whether or not he is right in his conclusion that the problem of evil is not a genuine problem; and to raise, in the course of my criticism, certain fundamental questions that must be answered if the controversy between theists and their critics is to become logically capable of resolution. Further, in relation to and , I shall offer a very preliminary sketch of some of the fundamental terms or concepts involved in the discussion of the problem of evil and related issues of philosophical theology. I shall begin by saying a few things about Schlesinger's discussion of some of the familiar attempts of theists to resolve the problem, and the equally familiar attacks of the sceptics. I shall then pass to a criticism of Schlesinger's main thesis. (shrink)

The content of this book provides a unified and coherent treatment of a number of important issues in the philosophy of language and logical theory.

Haig Khatchadourian is Emeritus Professor of Philosophy at the University of Wisconsin-Milwaukie. He received his PhD in philosophy from Duke University and has been awarded several prizes for poetry and literary essays. In 1973 he received the Outstanding Educator of America Award.

The article maintains, By appeal to documentary evidence relating to the creative processes of various artists, That the two major rival theories of the creative process--The "teleological" and the "propulsive" ("non-Teleological") theories--Are inadequate. Rather than always being goal-Directed or always propulsive, Creative processes exhibit a wide range of patterns. Six of them are considered. They range from works "which have been created without any, Or with scarcely any, (1) "vision" of the work-To-Be created, Even of the vaguest or most general (...) kind, Or (2) any particular "purpose" that the work to be created is intended to serve" to "instances of artistic creation which start with (1) some definite, Quite specific and well-Worked out plan, Vision or blueprint of the work-To-Be-Created, And/or (2) some specific purpose which the work-To-Be-Created... Is intended to have." still other patterns probably obtain in films and in "indeterminate" art. (shrink)