This book elucidates T. F. Torrance’s reconstruction of natural theology as it appears within its intellectual context and broader Christological method. Irving argues that Torrance’s work on natural theology is an important affirmation of the priority of grace in theological method and knowledge alongside the integrity of human agency.
Ambient assisted living technologies can provide assistance and support to persons with dementia. They might allow them the possibility of living at home for longer whilst maintaining their comfort and security as well as offering a way towards reducing the huge economic and personal costs forecast as the incidence of dementia increases worldwide over coming decades. However, the development, introduction and use of AAL technologies also trigger serious ethical issues. This paper is a systematic literature review of the on-going scholarly (...) debate about these issues. More specifically, we look at the ethical issues involved in research and development, clinical experimentation, and clinical application of AAL technologies for people with dementia and related stakeholders. In the discussion we focus on: the value of the goals of AAL technologies, the special vulnerability of persons with dementia in their private homes, the complex question of informed consent for the usage of AAL technologies. (shrink)
MARXISM AND LIBERALISM edited by Ellen Frankel Paul, Fred D. Miller, Jr., Jeffrey Paul and John Ahrens New York: Basil Blackwell, 1986. 223 pp., $14?95 (paper) LIBERALISM by John Gray Minneapolis: University of Minnesota Press, 1986. 106 pp., $9.95 (paper).
THE LEFT AND RIGHTS: A CONCEPTUAL ANALYSIS OF SOCIALIST RIGHTS by Tom Campbell Boston: Routledge and Kegan Paul, 1983. 296 pp., $12.95 Campbell's attempt to construct a socialist version of rights and the rule of law fails because it does not draw on individualism. Campbell's positive rights are ineffective barrien to both the schemes of Utopian visionaries who command political authority and more mundane sources of the abuse of power. He leaves unanswered the question of who will determine the extent (...) of the ?needs?; that would constitute socialist rights, in the absence of unlimited resources to fulfill them. And his rejection of individualism ¡eaves him no means of adjudicating among conflicting positive claim?rights. (shrink)
This book is a collection of secondary essays on America's most important philosophic thinkers—statesmen, judges, writers, educators, and activists—from the colonial period to the present. Each essay is a comprehensive introduction to the thought of a noted American on the fundamental meaning of the American regime.
Special relativity was based on the theorem that time is affected by motion. Einstein's proof of this was an imaginary experiment with clocks, using light as a synchronizing signal. He has said that the kind of signal was immaterial. Subsequent interpreters have stated that sound signals could just as well have been used. Today any airplane passenger's watch denies Einstein's mathematics, had he used sound. The Lorentz-Einstein transformation equations in which the speed of sound is substituted for the speed of (...) light are unthinkable. But if they do not hold with sound as the signal, no more do they with light, for the process is identical. The transformation equations for space are based on the variability of time, and are therefore likewise denied. (shrink)
[Herbert F.] Tucker has shown us in a very practical way that the concept of meaning is the problem of problems, not only in hermeneutics but in literary theory and, indeed, literary study generally. It may well be that in literary study there can be no talk of meaning that is not ambiguous, that does not require us to speak in figures or by means of metaphorical improvisations. It would not necessarily follow that our talk of meaning is merely (...) provisional or without philosophical authority since we know now that considerable authority attaches to ordinary language, whence we obtain our use of the word "meaning" as well as the figurations that we use to talk our way around it. To be sure, the discipline of literary study is now rapidly filling with grave masters who take our figures to mean that meaning is literally unspeakable—only so many transferences and substitutions within a system of differences alarmingly vast . This is itself a terrific idea, or a terrific figure, although it is used mainly to expose the thoughtless way we talk about meaning as well as our offhand assumptions about the conditions that make understanding possible. Our problem in literary study is not that meaning is unspeakable—even if it were it would not be a problem—but that we rarely reflect on the subject of meaning in a disciplined way. In our time, meaning as a topic of study is the preserve of logicians. It is almost exclusively a theme of analytical philosophy, and even those not bound by this philosophy address themselves to the analytical tradition when they speak of meaning.1 It is time that we entered into this discourse on meaning; a paper as fine as Tucker's should serve as a summons.· 1. Among numerous cases, see John R. Searle, "Metaphor" and "Literal Meaning," Expression and Meaning , pp. 76-136, and "Intentionality and the Use of Language," in Meaning and Use, ed. Avishai Margalit , pp. 181-97.Gerald l. Bruns, professor of English at the University of Iowa, is the author of Modern Poetry and the Idea of Language and Inventions: Writing, Textuality, and Interpretation in Literary History. (shrink)
The lyric speaker begins by turning his or her will into words, but begins to be a Browningesque speaker when this conversion leads to a turning of the will against words. This inversion, or perversion, of the will against its own expression requires a reader to entertain a complex notion of the relationship between intention and language—or, more accurately, to hold in suspension two competing versions of that relationship. A reader learns not only to conceive interpretation in the simple lyric (...) sense, as a prevailing assertion of the will, but also to conceive any given assertion of the will, any intention given over to articulation in language, as an interpretation and therefore a potential falsification inviting further refinement. The playful competition Browning urges between these two conceptions of intentionality frees meaning to wander somewhere beyond the ken of each lyric speaker, somewhere in the future of lyric utterance. Meaning is to the dramatic lyric what action is to the drama proper; and much as the curious "action in character" of Browning's dramas defers dramatic action and makes room for play, so Browning defers meaning in the lyrics by enlisting the patterning forces of the self-interfering will.1· 1. Browning remarked in the preface to Strafford that his play turned on "Action in the Character rather than Character in Action".Herbert F. Tucker, Jr., an assistant professor of English at Northwestern University, has published articles on Hopkins and Browning. An expanded version of the present essay appears in his Browning's Beginnings: The Art of Disclosure. (shrink)
E. F. Carritt (1876-1964) was educated at and taught in Oxford University. He made substantial contributions both to aesthetics and to moral philosophy. The focus of this entry is his work in moral philosophy. His most notable works in this field are The Theory of Morals (1928) and Ethical and Political Thinking (1947). Carritt developed views in metaethics and in normative ethics. In meta-ethics he defends a cognitivist, non-naturalist moral realism and was among the first to respond to A. J. (...) Ayer’s emotivist challenge to this view. In normative ethics he advocates a deontological view in which there is a plurality of obligations and of non-instrumental goods. In the context of defending this view he raised some penetrating and novel criticisms of ideal utilitarianism. He held that it is not acceptable to revise our reflective common-sense moral attitudes in the face of philosophical moral theories, and that moral philosophy is only indirectly practical. (shrink)