Claude Bernard, the father of scientific physiology, believed that if medicine was to become truly scientiifc, it would have to be based on rigorous and controlled animal experiments. Bernard instituted a paradigm which has shaped physiological practice for most of the twentieth century. ln this paper we examine how Bernards commitment to hypothetico-deductivism and determinism led to (a) his rejection of the theory of evolution; (b) his minima/ization of the role of clinical medicine and epidemiological studies; and (c) (...) his conclusion that experiments on nonhuman animals were, "entirely conclusive for the toxicology and hygiene of man". We examine some negative consequences of Bernardianism for twentieth century medicine, and argue that physio/ogy's continued adherence to Bernardianism has caused it to diverge from the other biological sciences which have become increasingly infused with evolutionary theory. (shrink)

This article examines Bernard Lonergan's account of the meaning, functions, and importance of art, focusing on the chapter on art in his Topics in Education (volume 10 of The Collected Works of Bernard Lonergan), the text derived from his 1959 Cincinnati lectures on philosophy of education. The essay begins by identifying important parallels between Lonergan s analysis of art and selected elements in the philosophies of Aristotle, Saint Augustine, Kant, Hegel, Tolstoy, Collingwood, and Heidegger. It then focuses upon (...) Lonergan's particular emphasis on artistic creation and appreciation as an exercise of human liberty, and as a testimony to the freedom of human consciousness. Developing this theme, it explores how Lonergan's analysis answers three critical questions: 1) what does art liberate us from? 2) what does art liberate us for? and, 3) why is art always about freedom? /// O presente artigo constitui uma análise da posição de Bernard Lonergan acerca do sentido, das funções, e da importância da arte, análise esta centrada no capítulo sobre a arte que se encontra na obra Topics in Education (volume 10 das Collected Works of Bernard Lonergan), texto este derivado das conferências pronunciadas pelo filósofo canadiano, em 1959, em Cincinnati, sobre Filosofia da Educação. O artigo começa com o estabelecimento de importantes paralelos entre as análises de Lonergan acerca da arte e alguns elementos escolhidos nas filosofias de Aristóteles, Santo Agostinho, Kant, Hegel, Tolstoi, Collingwood, e Martin Heidegger. Seguidamente, o artigo concentra-se na ênfase dada por Lonergan à criatividade e avaliação artísticas, mostrando de que modo uma e outra constituem exercícios maiores da liberdade humana, e, nessa medida, devem ser vistas como testemunhas privilegiadas da liberdade da consciência humana. Assim, ao desenvolver este tema, o artigo explora o modo como a análise de Lonergan responde às seguintes três questões críticas fundamentais: 1) de que coisas nos liberta a arte? 2) para que coisas nos liberta a arte? e 3) por que razão tem a arte sempre a ver com a liberdade? (shrink)

In The Ethics of Discernment, Patrick H. Byrne presents an approach to ethics that builds upon the cognitional theory and the philosophical method of self-appropriation that Bernard Lonergan introduced in his book Insight, as well as upon Lonergan's later writing on ethics and values. Extending Lonergan's method into the realm of ethics, Byrne argues that we can use self-appropriation to come to objective judgements of value. The Ethics of Discernment is an introspective analysis of that process, in which sustained (...) ethical inquiry and attentiveness to feelings as "intentions of value" leads to a rich conception of the good. Written both for those with an interest in Lonergan's philosophy and for those interested in theories of ethics who have only a limited knowledge of Lonergan's work, Byrne's book is the first detailed exposition of an ethical theory based on Lonergan's philosophical method. (shrink)

BERTRAND RUSSELL ON MODALITY AND LOGICAL RELEVANCE - SECOND EDITION of 2015. Praise for the first edition of 1999: "In the twenty-nine years since Russell's death, much of the major scholarship has drawn heavily on his manuscripts and unpublished correspondence. The author shows that the published Russell is capable of new interpretations; in particular, that modal notions such as possibility have a greater place in various aspects of his logical and philosophical thought than has been previously imagined." -Ivor Grattan-Guinness, Foreword (...) to the first edition. EXCERPT FROM PUBLISHED REVIEW: "Dejnožka's book is the first full-length study of modality in Russell. It is useful for its very full survey of passages in which Russell makes use of or alludes to modal notions. Dejnožka's command of Russell's huge output is indeed impressive and his utilization of it thorough...." - Nicholas Griffin, Studia Logica. EXCERPT FROM PUBLISHED REVIEW: "Dejnožka's book raises a very important point in the history of formal logic. Until now the major studies on this topic have drawn heavily on the development of classical logic as standardized by Gottlob Frege and Bertrand Russell. Dejnožka challenges the reader to open his mind for a new interpretation of Russell's work, in particular that modal and relevance notions have a greater place in his philosophy of logic than has been stressed before.... "Dejnožka rightly observes that many of Russell's insights on modality are a result of his discussions with Hugh MacColl, who was indeed the first to seriously attempt to develop formal modal logic. This particularly applies to Russell's conception of a modal logic without modal operators....That is, classical logic can be used to simulate modal expressions. Thus, the notions of (logical) necessity and possibility are not 'fundamental notions'....On this basis, Dejnožka develops a higher level of modality, where the quantification scope extends to the predicates yielding what Russell calls 'fully general propositions'.... "The best studied translation method is known as the standard translation, and it is quite compatible with Dejnožka's suggestions.... "Dejnožka's book is full of material which stimulates [one] to rethink Russell's philosophy of logic and...it is greatly to the author's credit that he brings to light such a wealth of crucial issues in the history and philosophy of logic. - Shahid Rahman, History and Philosophy of Logic. BOOK DESCRIPTION: This book is the only exhaustive study of Russell on modality and logical relevance ever written. This is the second edition, revised over a period of over sixteen years, and over twice as long. Russell initially rejects the possibility of a modal logic in an unpublished paper written ca. 1903-05 and read to an audience in 1905. But the very next year, he adopts the theory of modality he had rejected, and he repeats that theory in published works for many years to come. That theory, together with other texts scattered among Russell's writings, implies eight modal logics which Russell himself never expressly accepted. And Russell's express acceptance of the early Wittgenstein's theory of entailment ("following from") as truth-ground containment implies a deductive relevance logic in Russell's writings which Russell himself never expressly accepted. The book ends with a look at John Maynard Keynes and Anglo-American evidence law as the origins of Russell's theory of probability as degree of logical relevance. Thus the book is written toward the reunion of modern classical logicians with modal logicians and relevantists. On the reunion of modern classical logicians with relevantists, please see also The Concept of Relevance and the Logic Diagram Tradition (2012). Thus I hope to have created two new fields of Russell studies. I may have created a new legal field as well: the history of logical relevance in evidence law: 132 pages (368-500) in chapter 10. (shrink)

_Transcendence and History_ is an analysis of what philosopher Eric Voegelin described as “the decisive problem of philosophy”: the dilemma of the discovery of transcendent meaning and the impact of this discovery on human self-understanding. The explicit recognition and symbolization of transcendent meaning originally occurred in a few advanced civilizations worldwide during the first millennium?.?.e. The world’s major religious and wisdom traditions are built upon the recognition of transcendent meaning, and our own cultural and linguistic heritage has long since absorbed (...) the postcosmological division of reality into the two dimensions of “transcendence” and “immanence.” But the last three centuries in the West have seen a growing resistance to the idea of transcendent meaning; contemporary and “postmodern” interpretations of the human situation—both popular and intellectual—indicate a widespread eclipse of confidence in the truth of transcendence. In _Transcendence and History_, Glenn Hughes contributes to the understanding of transcendent meaning and the problems associated with it and assists in the philosophical recovery of the legitimacy of the notion of transcendence. Depending primarily on the treatments of transcendence found in the writings of twentieth-century philosophers Eric Voegelin and Bernard Lonergan, Hughes explores the historical discovery of transcendent meaning and then examines what it indicates about the structure of history. Hughes’s main focus, however, is on clarifying the problem of transcendence in relation to historical _existence_. Addressing both layreaders and scholars, Hughes applies the insights and analyses of Voegelin and Lonergan to considerable advantage. _Transcendence and History_ will be of particular value to those who have grappled with the notion of transcendence in the study of philosophy, comparative religion, political theory, history, philosophical anthropology, and art or poetry. By examining transcendent meaning as the key factor in the search for ultimate meaning from ancient societies to the present, the book demonstrates how “the decisive problem of philosophy” both illuminates and presents a vital challenge to contemporary intellectual discourse. (shrink)

This essay examines the songwriting art of Bob Dylan as a vehicle for exploring and clarifying elements in Bernard Lonergan’s analysis of art. The elements focused upon include Lonergan’s treatment of symbols and symbolic meaning as the communicative medium of art, and, at greater length, Lonergan’s account of art’s capacity for what he calls “ulterior significance,” its ability to suggest depths of meaning—including divine or ultimate meaning—that we surmise to lie beyond our comprehension. Examining songs from the full range (...) of Dylan’s fifty-year career, the essay shows that from his early songwriting in the “folk” tradition and his breakthrough achievements of the mid-1960s, Dylan’s best art has been characterized by an unusual concision and power in its use of symbolic imagery, as well as by a recurrent ability to evoke, with artistic originality and effectiveness, mysteries of “ulterior significance.” These analyses are then brought together in a discussion of the religious, often eschatological, character of some of Dylan’s most significant work. (shrink)

Poco più di mezzo secolo fa, il padre domenicano Antoine Dondaine, in un articolo dedicato ai due fratelli pisani Ugo Eteriano e Leone Tosco, attivi nella seconda metà del secolo XII alla corte di Costantinopoli durante il regno dell'imperatore Manuele I Comneno, segnalava l'esistenza in due codici (Sevilla, Biblioteca Colombina 5.1.24, Oxford, Bodl. Canon. Pat. Lat. 1) dell'opuscolo Adversus Patherenos composto da Ugo a Costantinopoli (Hugues Éthérien et Léon Toscan, «Archives d'histoire doctrinale et littéraire du Moyen Âge», 27, 1952, p. (...) 67–134, qui 109–114), importante non solo per la storia dell'eresia dualista in epoca medievale, ma anche per l'utilizzo da parte di Ugo di alcuni testimoni della letteratura agiografica ed edificante bizantina. (shrink)

Poco più di mezzo secolo fa, il padre domenicano Antoine Dondaine, in un articolo dedicato ai due fratelli pisani Ugo Eteriano e Leone Tosco, attivi nella seconda metà del secolo XII alla corte di Costantinopoli durante il regno dell'imperatore Manuele I Comneno, segnalava l'esistenza in due codici (Sevilla, Biblioteca Colombina 5.1.24, Oxford, Bodl. Canon. Pat. Lat. 1) dell'opuscolo Adversus Patherenos composto da Ugo a Costantinopoli (Hugues Éthérien et Léon Toscan, «Archives d'histoire doctrinale et littéraire du Moyen Âge», 27, 1952, p. (...) 67–134, qui 109–114), importante non solo per la storia dell'eresia dualista in epoca medievale, ma anche per l'utilizzo da parte di Ugo di alcuni testimoni della letteratura agiografica ed edificante bizantina. (shrink)

Hugh of Saint Victor was an incredibly influential philosopher and theologian in 10th century France-his eloquence and writing earning him fame exceeding even that of St. Bernard. Yet despite his medieval celebrity, Hugh remains incredibly understudied in contemporary academica. Paul Rorem offers a basic introduction to Hugh's theology, through a comprehensive survey of his works. Drawing his evidence not only from Hugh's own descriptions of his work but from the earliest manuscript traditions of his writings, (...) Rorem organizes and presents his corpus within a tri-part framework, treating each of Hugh's major works in its appropriate place, and orienting the reader to its contents, as well as its location in Hugh's overarching program of theological pedagogy. (shrink)

By the time of his death in 2003, Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Presenting a sustained critique of moral theory from Kant onwards, Williams reorients ethical theory towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary (...) philosophy and identifies new ideas about central issues such as relativism, objectivity and the possibility of ethical knowledge. This edition also includes a new commentary on the text by A.W.Moore and a foreword by Jonathan Lear. (shrink)

By the time of his death in 2003, Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Presenting a sustained critique of moral theory from Kant onwards, Williams reorients ethical theory towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary (...) philosophy and identifies new ideas about central issues such as relativism, objectivity and the possibility of ethical knowledge. (shrink)

In the mid twentieth century the philosopher Ludwig Wittgenstein famously asserted that games are indefinable; there are no common threads that link them all. "Nonsense," says the sensible Bernard Suits: "playing a game is a voluntary attempt to overcome unnecessary obstacles." The short book Suits wrote demonstrating precisely that is as playful as it is insightful, as stimulating as it is delightful. Suits not only argues that games can be meaningfully defined; he also suggests that playing games is a (...) central part of the ideal of human existence, so games belong at the heart of any vision of Utopia. Originally published in 1978, The Grasshopper is now re-issued with a new introduction by Thomas Hurka and with additional material (much of it previously unpublished) by the author, in which he expands on the ideas put forward in The Grasshopper and answers some questions that have been raised by critics. (shrink)

With a new foreword by Jonathan Lear 'Remarkably lively and enjoyable…It is a very rich book, containing excellent descriptions of a variety of moral theories, and innumerable and often witty observations on topics encountered on the way.' -_ Times Literary Supplement_ Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Drawing on (...) the ideas of the Greek philosophers, Williams reorients ethics away from a preoccupation with universal moral theories towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary philosophy and identifies new ideas about central issues such as relativism, objectivity and the possibility of ethical knowledge. This edition also includes a commentary on the text by A.W.Moore. At the time of his death in 2003, Bernard Williams was hailed by the Times as 'the outstanding moral philosopher of his age.' He taught at the Universities of Cambridge, Berkeley and Oxford and is the author of many influential books, including _Morality; Descartes: The Project of Pure Enquiry_ and _Truth and Truthfulness_. (shrink)

How I became a philosopher -- To love, to love me, to love us.

The challenge this book addresses is to demonstrate how, in teaching content knowledge, the development of intellectual and moral dispositions as virtues is not merely a good idea, or peripheral to that content, but deeply embedded in the logic of searching for knowledge and truth. It offers a powerful example of how philosophy of education can be brought to bear on real problems of educational research and practice – pointing the reader to re-envision what it means to educate children by (...) developing the person, instead of simply knowledge and skills. Connected intimately to the practice of teaching and teacher education, the book sets forth an alternative theory of education where the developing person is at the center of education set in a moral space and a political order. To this end, a framework of public and personal knowledge forms the content, to which personal dispositions are integral, not peripheral. The book’s pedagogy is invitational, welcoming its readers as companions in inquiry and thought about the moral aspects of what we teach as knowledge. (shrink)

We tend to suppose that the ancient Greeks had primitive ideas of the self, of responsibility, freedom, and shame, and that now humanity has advanced from these to a more refined moral consciousness. Bernard Williams's original and radical book questions this picture of Western history. While we are in many ways different from the Greeks, Williams claims that the differences are not to be traced to a shift in these basic conceptions of ethical life. We are more like the (...) ancients than we are prepared to acknowledge, and only when this is understood can we properly grasp our most important differences from them, such as our rejection of slavery. The author is a philosopher, but much of his book is directed to writers such as Homer and the tragedians, whom he discusses as poets and not just as materials for philosophy. At the center of his study is the question of how we can understand Greek tragedy at all, when its world is so far from ours. Williams explains how it is that when the ancients speak, they do not merely tell us about themselves, but about ourselves. _Shame and Necessity_ gives a new account of our relations to the Greeks, and helps us to see what ethical ideas we need in order to live in the modern world. (shrink)

At M. Bernard's I saw several magnificent paintings on porcelain by Monsieur Constantin. In two hundred years, Raphael's frescoes will be known only through Monsieur Constantin.Stendhal, Voyage en France, 1837If we compare the forms that the act of copying has assumed in various civilizations, we cannot fail to notice that a certain number of phenomena are specific to European culture since the Renaissance. Perhaps one of the most singular of these phenomena is the will to create and to possess (...) imperishable reproductions of works that have been singled out, at a given moment, as the brightest jewels of Western art. The history of the fortune of Graeco-Roman sculptures has been masterfully related by Francis Haskell and Nicholas Penny in Taste and the Antique: The Lure of Classical Sculpture 1500-1900, even if it would no doubt be worthwhile to give further consideration to the critical fortune of materials used for reproduction, and particularly to the particular prestige attached to bronze—from the Mantuan works of Antico to the reconstitutions of Greek Urbilder in bronze, instead of the plaster used earlier, which were executed at the beginning of the twentieth century, such as the two Doryphoros that Georg Römer realized from various ancient marble copies of Polyclitus's athlete. But, in fact, it was not only in modern Europe that copies were made in bronze. The production of copies using this alloy was particularly prevalent in imperial China after the rediscovery, in the second half of the eleventh century of our era, of a collection of archaic bronzes from the Shang era. This is why I prefer to call attention to a practice that appears to me, in contrast, to be unique to the Western world: the copying of renowned paintings in materials that are supposed to defy time. (shrink)

Bernard Williams's remarkable essay on morality confronts the problems of writing moral philosophy, and offers a stimulating alternative to more systematic accounts which seem nevertheless to have left all the important issues somewhere off the page. Williams explains, analyses and distinguishes a number of key positions, from the purely amoral to notions of subjective or relative morality, testing their coherence before going on to explore the nature of 'goodness' in relation to responsibilities and choice, roles, standards, and human nature. (...) The final chapters make a fascinating enquiry into what morality is about, looking beyond happiness to other human aims and ideals. This re-issue of a classic in moral philosophy includes a new foreword by the author. (shrink)

This essay—originally a conference response to Glenn Hughes’ essay—explores how themes and notions in Lonergan’s philosophy of art extend in surprising and often unnoticed ways into the larger whole of Lonergan’s thought. By the same token, the broader framework of Lonergan’s philosophy sheds a great deal of interesting light on his philosophy of art. The essay explores this mutual illumination in the context of Hughes’ reflections on “ulterior significance.” For example, it relates Lonergan’s notion of art to his heuristic of (...) human development as an intertwining or interlocking of the organic, psychic, intellectual, and religious levels in human development. It also relates Lonergan’s notion of art, together with his recognition of the centrality of the symbolic in human living, to his treatment of the permanent human needs for liberation from “the ready-made world,” for the sense of the unknown, and for orientation into mystery—even for orientation into ultimate mystery. (shrink)

This new volume of philosophical papers by Bernard Williams is divided into three sections: the first Action, Freedom, Responsibility, the second Philosophy, Evolution and the Human Sciences; in which appears the essay which gives the collection its title; and the third Ethics, which contains essays closely related to his 1983 book Ethics and the Limits of Philosophy. Like the two earlier volumes of Williams's papers published by Cambridge University Press, Problems of the Self and Moral Luck, this volume will (...) be welcomed by all readers with a serious interest in philosophy. It is published alongside a volume of essays on Williams's work, World, Mind, and Ethics: Essays on the Ethical Philosophy of Bernard Williams, edited by J. E. J. Altham and Ross Harrison, which provides a reappraisal of his work by other distinguished thinkers in the field. (shrink)

Bernard Williams; XIV*—The Truth in Relativism, Proceedings of the Aristotelian Society, Volume 75, Issue 1, 1 June 1975, Pages 215–228, https://doi.org/10.1093.