This is the first book to offer the best essays, articles, and speeches on ethics and intelligence that demonstrate the complex moral dilemmas in intelligence collection, analysis, and operations. Some are recently declassified and never before published, and all are written by authors whose backgrounds are as varied as their insights, including Robert M. Gates, former Director of the Central Intelligence Agency; John P. Langan, the Joseph Cardinal Bernardin Professor of Catholic Social Thought at the Kennedy Institute of Ethics, Georgetown (...) University; and Loch K. Johnson, Regents Professor of Political Science at the University of Georgia and recipient of the Owens Award for contributions to the understanding of U.S. intelligence activities. Creating the foundation for the study of ethics and intelligence by filling in the gap between warfare and philosophy, this is a valuable collection of literature for building an ethical code that is not dependent on any specific agency, department, or country. (shrink)

My argument proceeds in two stages. In §I, I sum up the intuitions of a popular argument for 'satisfaction accounts' of Purgatory that I label, TAP. I then offer an argument, taken from a few standard orthodox Christian beliefs and one axiom of Christian theology, to so show that TAP is unsound. In the same section, I entertain some plausible responses to my argument that are prima facie consistent with these beliefs and axiom. I find these responses wanting. In §II, (...) I offer a sorites problem for TAP, given the orthodox Christian understanding of Christ’s parousia, showing that TAP and the intuitions driving it are faulty. To attempt something of a corrective, I end by offering some modest theological suggestions for thinking through “the logic of total transformation.”. (shrink)

In this paper, I offer something of a prolegomenon, outlining some areas in which certain strands of biblical theology and analytic theological reflection can be mutually informative. To do so, my paper unfolds in three ways. In the first section, I provide some reasons to think that biblical theologians are onto a reading of Scripture that merits the attention of analytic theologians. In section II, I outline some areas in the biblical theological data that would benefit from analytic exploration and (...) reflection. Finally, in sections III and IV, I present a test case: the imago Dei and the importance of the future bodily resurrection. This should help show how this strand of biblical theology and analytic theological reflection can be mutually informative. (shrink)

To analyze the concept of a human merely in terms of the concept of a primate is to let all kinds of monkeys and apes into a category reserved for humans. Criteria of identity for universal attributes formulated merely in terms of causal roles associated with universals involve a similar permeability, since they cannot distinguish universals from non‐universal attributes. Without appealing to the existence of noncausal universals or resorting to charges of circularity, I will show that causal criteria of identity (...) for universals are insufficiently informative because they cannot capture a distinctive feature of universals. (shrink)

Material acquisition—buying, inheriting, being given—and nonmaterial—learning a word, assimilating a form—have been likened, and in both, meaningful acquisition cannot take place without a taxonomy, a scheme of categories into which the acquired element can be fitted. Then with these elements—both material and nonmaterial—we create a world or build and project a self, the painter and the interior decorator equally manipulating the elements in a vocabulary. The coarseness of such an outlook seems to bludgeon away long-established fine distinctions. We need not (...) deny, however, that there may be a kind of "indifference" in regard to "the real existence of the thing" which allows us "to play the part of judge in matters of taste," as Kant would have it,1 we need not deny the existence of an "aesthetic attitude: it is just that such indifference and such an attitude probably don't have much to do with our day-to-day experience of artifacts and perhaps needn't. The "aesthetic attitude" was not long ago defined by Jerome Stolnitz as "disinterested and sympathetic attention to and contemplation of any object of awareness whatever, for its own sake alone."2 Stolnitz is at pains to distinguish the aesthetic attitude from "interests" with which it may be preferable to confuse it. "One of them," he writes, "is the interest in owning a work of art for the sake of pride or prestige". And again, "Another nonaesthetic interest is the 'cognitive,' i.e., the interest in gaining knowledge about an object". Both these interests sound rather acquisitive, and let us consider the "aesthetic attitude" as somehow tied in everyday practice to the bundle of "acquiring" activities. · 1. Immanuel Kant, The Critique of Judgment, trans. James Creed Meredith, p. 43.· 2. Jerome Stolnitz, Aesthetics and the Philosophy of Art Criticism, excerpted in Introductory Readings in Aesthetics, ed. John Hospers, p. 19; all further citations in text. Hiram W. Woodward, Jr. is a lecturer in the department of the history of art at the University of Michigan. He is editor of Eighty Works in the University of Michigan Museum of Art: A Handbook and coeditor of Barabudur: History and Significance of a Buddhist Monument. (shrink)

Rather than representing a break with his earlier philosophical undertakings, The Birth of Tragedy can be seen as continuous with them and Nietzsche's later works. James Porter argues that Nietzsche's argumentative and writerly strategies resemble his earlier writings on philology in his 'staging' of meaning rather than in his advocacy of various positions. The derivation of the Dionysian from the Apollinian, and the interest in the atomistic challenges to Platonism, are anticipated in earlier works. Also the theory of the (...) all-too-human subject is a thread that runs throughout Nietzsche's oeuvre, critically undoing what his philosophy appears to erect, confirming that Nietzsche is a most unreliable witness to his own meaning. As well as studying the relation of The Birth of Tragedy to later writings, the author examines it on its own terms as a self-standing and complete piece of imagining, with close regard to the self-presentation of the work itself. (shrink)

James I. The Political Works of James I. Reprinted from the Edition of 1616. With an Introduction by Charles Howard McIlwain. Cambridge: Harvard University Press, 1918. cxi, 354 pp. Reprinted 2002 by The Lawbook Exchange, Ltd.

The results of four experiments provide evidence for controlled processing in the absence of awareness. Participants identified the colour of a neutral distracter word. Each of four words was presented in one of the four colours 75% of the time or 50% of the time . Colour identification was faster when the words appeared in the colour they were most often presented in relative to when they appeared in another colour, even for participants who were subjectively unaware of any contingencies (...) between the words and the colours. An analysis of sequence effects showed that participants who were unaware of the relation between distracter words and colours nonetheless controlled the impact of the word on performance depending on the nature of the previous trial. A block analysis of contingency-unaware participants revealed that contingencies were learned rapidly in the first block of trials. Experiment 3 showed that the contingency effect does not depend on the level of awareness, thus ruling out explicit strategy accounts. Finally, Experiment 4 showed that the contingency effect results from behavioural control and not from semantic association or stimulus familiarity. These results thus provide evidence for implicit control. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Figuring Myself Out:Certainty, Injury, and the Poststructuralist Repositioning of Bodies of IdentityJames Haywood Rolling Jr. (bio)CertaintyI have been attempting to figure myself out. Out of chaos and incompletion, toward increased certainty. I have been at this task of construction for quite some time now. I have just proposed my dissertation and my intentions are once again uncertain. My dissertation is to be a self-study. It is also a story (...) about uncertainty and my attempts to redeem a clear definition, to be named a peer and a colleague among artists, writers, and teachers. I have been uncertain as a little boy; uncertain as a son; uncertain as a student of architecture; uncertain as an artist and writer; uncertain as a teacher; uncertain as a black man. To compensate, I have sought the conferral of certainty, a name among leaders in many fields of inquiry. Still, it is not easy to forget that certainty has also been the cause of great injury to my body, to my mind.On sunny afternoons after school all the kids came outside to play. The air would fill with echoes going back and forth between the red brick and stone buildings on both sides of our narrow street. Pounding rubber balls, the taps and scratches of shoe heels, and the slapping of sneakers on the cement and asphalt.Sometimes white chalk would appear and hopscotch boxes were quickly drawn on the neat squares of cement pavement in front of my Grandma's house. Grandma lived next door to us. Houses on our block were side by side, sharing each other's walls.On a particular day, similar to other days, I watched as a small flat stone was tossed to bounce across the cement into a numbered box. I watched the one foot, two feet, one foot hops from box to box to stop and balance on one small hopping foot, steadying itself, to drop a hand to pick up the stone. Some little girl came to sit beside me and asked me to look at her. We were sitting on one of Grandma's two wooden benches, just inside the front gate. [End Page 46] Two steps down was the sidewalk and other kids. I ignored the girl. I made sure my body had no contact with hers on the bench. Why was she talking to me anyway? Didn't she see I didn't have anything I wanted to say?"Look at me!" she said, tugging at my arm."Will you stop it!" I snapped back, jerking my arm away. Being touched was not natural to me. My family didn't touch. I tightened the skin of my eyebrows and the bridge of my nose into a frown."Smile!" the little girl said slyly, trying to tickle me."Leave me alone!" I yelled. I tried to move away from the touching.I must have grinned. Grinning relaxes the frowns on faces. The girl clapped a hand over her mouth, all giggles. I asked what she was laughing so loud for. The kids out in front of us now had our attention. I felt like I was now being watched. I can't remember the faces, just the noise and voices that seemed to stop. The little girl stood up, pointed at my face and declared, finger in my face, pointing, speaking out loud, "Look! He only has one dimple! See?! Look at his face!""No I don't," I said, dropping my face, my eyes, my voice. My head was down and I didn't want to see if anyone was looking. The attention made my face warm and I needed to move away fast. "No I don't," I repeated, stiffly. My whole head seemed to glow brightly, very hot, drawing lots of attention. I was beneath windows, very near, on both sides of the street, always with onlookers. I rushed through the painted iron gate, going quickly next door, upstairs to "our house," to the second floor apartment we lived in, down the hallway so dark after the bright outside, around a curve and a corner, into the bathroom, closing the door behind me. Locking the door... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Minding Brain Injury, Consciousness, and Ethics: Discourse and DeliberationsJoseph J. Fins (bio) and James Giordano (bio)The annual John Collins Harvey Lecture at the Georgetown University’s Pellegrino Center for Clinical Bioethics is a forum for addressing contemporary topics at the intersection of medicine and bioethics. This year, in marking the decadal anniversary of the launch of the Brain Research through Advancing Innovative Neurotechnology (BRAIN) Initiative, the Harvey Lecture provided (...) an interactive discussion with renowned clinician, researcher, scholar, and author, Joseph J. Fins, MD—who is the E. William Davis, Jr., MD Professor of Medical Ethics, Chief of the Division of Medical Ethics, and a Professor of Medicine at Weill Cornell Medical College—conducted by James Giordano, PhD, MPhil—who is a Professor of Neurology and Biochemistry, and Chief of the Pellegrino Center’s Neuroethics Studies Program at the Georgetown University Medical Center. The discourse focused upon the topic of covert consciousness, and the ways in which current and developing brain science technologies, together with revised practices of medicine, in general, may afford new opportunities in patient care, but may also give rise to issues, questions, challenges, and opportunities for neuroethics.Prof. James GIORDANO:Prof. Fins, your most recent book, Rights Come to Mind: Brain Injury, Ethics, and the Struggle for Consciousness (Fins 2015), addresses your ongoing work to employ current and emerging neurological approaches to reveal conscious functions in patients with profound brain injury and disease. To be sure, the destination—if you will—is to talk about covert consciousness. But in commencing this discussion, I’d like to propose a route, which traces your professional journey to this point in your career, and how it led you on your search to reveal consciousness in those patients who lack expressive capability. You went into palliative care first, and that brought you to where you are today. [End Page 227]Prof. Joseph J. FINS:First, let me thank you and the Pellegrino Center for the honor of giving the John Harvey Collins Lecture in such an interactive manner. The forefront of neurological care—and the neuroethical issues and methods focal to such practice—wasn’t what I initially intended to do professionally, but I think that therein is a good lesson for young people’s career aspirations. Simply put, one doesn’t always know where they’ll end up at the beginning of the journey, and as Kierkegaard said, life is lived forward, but is understood backwards (Kierkegaard 1843).In the nineties and the early 2000s, I was trying to help improve the quality of care of people at the end of life, and I wrote a book, entitled The Palliative Ethic of Care: Clinical Wisdom at Life’s End (Fins 2006), in which I addressed notions of phronesis—practical wisdom—in integrating theory and practice toward improving how people die. I became interested in the Quinlan case (Quinlan 1976), and the right to die, and around the same time, I ran into a colleague of mine at Cornell: Dr. Nicholas D. Schiff. Dr. Schiff is a neurologist, who was a protégé of Fred Plum, who was the originator of the concept of the vegetative state with Bryan Jennett, back in 1972. Fred was both of our teachers here at Cornell. Niko (Dr. Schiff) was interested in patients with disorders of consciousness, and was beginning to envision doing work—that ultimately, we did—using deep brain stimulation (DBS) to try to treat patients in the minimally conscious state, a category that was subsequently codified in 2002.I realized that a whole population of people—with these disorders of consciousness—had been somewhat marginalized, and their neglect essentially devolves back to the considerations of the right to die. The right to die was established in the Quinlan case because Judge Hughes—the presiding chief judge of the New Jersey Supreme Court—talked about Ms. Quinlan’s loss of a cognitive, sapient state as being the moral warrant for her right to die, given the fact that it was viewed as a futile situation. I recognized, over the ensuing years—from my background in palliative and end-of-life care—[1] that we had over-generalized notions of futility... (shrink)

Drawing on Nietzsche's prolific early notebooks and correspondence, this book challenges the polarized picture of Nietzsche as a philosopher who abandoned classical philology.

Current understandings of the sublime are focused by a single word and by a single author. The sublime is not a word: it is a concept and an experience, or rather a whole range of ideas, meanings and experiences that are embedded in conceptual and experiential patterns. Once we train our sights on these patterns a radically different prospect on the sublime in antiquity comes to light, one that touches everything from its range of expressions to its dates of emergence, (...) evolution, role in the cultures of antiquity as a whole, and later reception. This book is the first to outline an alternative account of the sublime in Greek and Roman poetry, philosophy, and the sciences, in addition to rhetoric and literary criticism. It offers new readings of Longinus without privileging him, but instead situates him within a much larger context of reflection on the sublime in antiquity. (shrink)

This is the first modern attempt to put aesthetics back on the map in classical studies. James I. Porter traces the origins of aesthetic thought and inquiry in their broadest manifestations as they evolved from before Homer down to the fourth century and then into later antiquity, with an emphasis on Greece in its earlier phases. Greek aesthetics, he argues, originated in an attention to the senses and to matter as opposed to the formalism and idealism that were enshrined (...) by Plato and Aristotle, and through whose lens most subsequent views of ancient art and aesthetics have typically been filtered. Treating aesthetics in this way can help us perceive the commonly shared basis of the diverse arts of antiquity. Reorienting our view of the ancient vocabularies of art and experience around matter and sensation, this book dramatically changes how we look upon the ancient achievements in these same areas. (shrink)

Kristeller's article ‘The Modern System of the Arts: A Study in the History of Aesthetics’ is a classic statement of the view, now widely adopted but rarely examined, that aesthetics became possible only in the eighteenth-century with the emergence of the fine arts. I wish to contest this view, for three reasons. Firstly, Kristeller's historical account can be questioned; alternative and equally plausible accounts are available. Secondly, ‘the modern system of the arts’ appears to have been neither a system nor (...) an agreed upon entity, but only a historical construct of Kristeller's own making that matches up with no known historical reality. Thirdly, while the concept of the fine arts existed in the eighteenth century, the assumption that it had an impact on the rise of aesthetic theory remains unproven and unnecessary. A more satisfactory account of aesthetic thought in antiquity can be given, once the ‘fine-arts’ objection has been cleared away. (shrink)

Roman Stoicism is typically read as a therapeutic philosophy that is centered around the care of the self and presented in the form of a self-help manual. Closer examination reveals a less reassuring and more challenging side to the school’s teachings, one that provokes ethical reflection at the limits of the self’s intactness and coherence. The self is less an object of inquiry than the by-product of a complex set of experiences in the face of nature and society and across (...) any number of flashpoints, from one’s own or others’ beliefs, actions, values, and relationships to the difficulty of sizing up one’s place in the universe. The pressures of natural and ethical reflection put intuitive conceptions of the self at considerable risk. The Roman Stoic self proves to be vulnerable, contingent, unbounded, relational, and opaque—in short, a rich matrix of problems that point beyond the individual self and anticipate contemporary critiques of the self. (shrink)

ABSTRACT This article examines an oddity that has gone unnoticed since Nietzsche first pointed it out to his friend and confidant Erwin Rohde in 1872—namely, that Wilamowitz, in his attack on The Birth of Tragedy, systematically misquotes Nietzsche. A large number of the quotations from The Birth of Tragedy by Wilamowitz in both installments of Zukunftsphilologie! are pseudo-quotations—whether they are off by a word or more or whether they are a collage of phrases drawn freely from Nietzsche's vocabulary. This essay (...) revisits the debate from the angle of nineteenth-century philology in its relation to textual authority. A complete appendix of Wilamowitz's misquotations from The Birth of Tragedy and from Rohde's Afterphilologie lays out, for the first time, this evidence of the practices of the first Nietzschean philologist in history, Wilamowitz himself. (shrink)

All parts of Heraclitus’ cosmos are simultaneously living and dying. Its constituent stuffs (“biomasses”) cycle endlessly through physical changes in sweeping patterns (“biorhythms”) that are reflected in the dynamic rhythms of Heraclitus’ own thought and language. These natural processes are best examined at a more-than-human level that exceeds individuation, stable identity, rational comprehension, and linguistic capture. B62 (“mortals immortals”), one of Heraclitus’ most perplexing fragments, models these processes in a spectacular fashion: it describes the imbrication not only of humans and (...) gods but of cosmic masses more generally, and its language mimics the natural relations that it names, or rather intimates through its grammatical and syntactical indeterminacy. The remaining fragments amplify the uncertainties and the exhilarations of Heraclitus’ worldview along the same lines. His approach to nature raises urgent questions about how human beings fit into the cosmos, not least by challenging our intuitive conceptions of life and death, our material makeup, and our entanglements with our natural surroundings. In doing so, he provides vital lessons for contemporary ecological awareness, and proves to be an unexpected ally. (shrink)

From the older handbooks to the more recent scholarly literature, Gorgias's professions about his art are taken literally at their word: conjured up in all of these accounts is the image of a hearer irresistibly overwhelmed by Gorgias's apagogic and psychagogic persuasions. Gorgias's own description of his art, in effect, replaces our description of it. "His proofs... give the impression of ineluctability" . "Thus logos is almost an independent external power which forces the hearer to do its will" . "Incurably (...) deceptive," logos has an "enormous power" that acts upon opinion, which is "easy to change" . Surprisingly, the urge to describe or paraphrase Gorgias's art has caused commentators to overlook the very best witness of it that we have: its enactment, which is to say the performative value of Gorgias's writings, especially the speeches. For if Gorgias's literary remains do nothing else, they demonstrate how one can do things with words without being explicit about what is being done, even if this means contradicting, performatively, what is being said-as for instance in his statements, so unconvincingly made, about the ostensible aims of rhetoric. Was Gorgias persuasive in practice? Was persuasion even the goal? Is logos the solitary arbiter of reality that it is so often made out to be? Through close examination of Gorgias's Helen and parts of On Not-Being, I attempt to show that persuasion is manifestly not the goal of his arguments, which in the first instance are aporetic paradoxes that expose the difficulties of defining the nature of either language or reality, and which in the last instance are instruments of cultural demystification. The only deception at work in Gorgias's writings is that of the self-deception of their audience. It is this that gives these curiously revealing documents of fifth-century Greek culture their "dissuasive," not persuasive, character. (shrink)