Political realists like Bernard Williams and Raymond Geuss reject political moralism, where ideal ethical theory comes first, then applied principles, and politics is reduced to a kind of applied ethics. While the models of political moralism that Williams criticizes are endorsed by G.A. Cohen and Ronald Dworkin respectively, I argue that this realist case against John Rawls cannot be sustained. In explicating and defending Rawls’s realistically utopian conception of ideal theory I defend a Kantian conception of theory where it (...) is by abstracting from immediate realities that theory is fit to guide practice by providing a framework for political judgment. (shrink)

In this essay I argue that Shelley's "A Defense of Poetry" is best understood as a defense of poetic language, which is in turn best understood as a defense of metaphorical language. According to Shelley, the metaphors of the poets reveal (extra-linguistic) reality, and have a truth value – they are true insofar as they capture reality. The literal language of "mere reasoners" of science and philosophy, by contrast, only reveals relations between ideas already known, and their statements are true (...) in virtue of the meanings of the words. Shelley's essays has been misunderstood because writers on metaphor such as David Cooper and Richard Rorty have assumed that metaphors are neither true nor false, and that defenders of metaphorical language such as Shelley are defending non-truth-apt language. Even those writers on metaphor who believe that metaphors are truth-apt, such as Raymond Gibbs, fail to understand that Shelley should be included in their number. (shrink)

The individual and society: Meerloo, J. A. M. Freedom--our mental backbone. Allport, G. Freedom. Marcuse, H. The new forms of control. Kerr, W. A. Psychology of the free competition of ideas. Eysenck, H. J. The technology of consent. Dewey, J. Toward a new individualism. Emerson, R. W. Self-reliance. Fromm, E. Freedom and democracy.--Religion and the inner man: St. Augustine. The freedom and the will. Mercier, L. J. A. Freedom of the will and psychology. Dostoyevsky, F. The grand inquisitor. Berdyaev, N. (...) Master, slave and free man. Buber, M. I and thou. Govinda, A. Time and space and the problem of free will. Prabhavananda, S. Control of the subconscious mind.--Philosophy and philosophical psychology: Bergson, H. Psychological determinism. James, W. The dilemma of determinism. Mill, J. S. The freedom of the will. Sartre, J. P. Being and doing: freedom. Wyschogrod, M. Sartre, freedom and the unconscious. May, R. Will, decision and responsibility: summary remarks. Knight, R. P. Determinism, "freedom," and psychotherapy. Royce, J. Meaning, value, and personality.--Selected bibliography (p. 393-408). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:556 BOOK REVIEWS actions ag'ainst the subject as battery. A further problem with creating embryos for research is that so doing violates the rights of ·the person or person-to-be to its parents and family. Crea.ting these embryos treats them as means and as nothing more than scientifically interesting material, but with no rights against harmful assaults. University of Illinois Chanipaign-Urbana FR. ROBERT BARRY, O.P. Evolution ana Creation. Edited by (...) ERNAN MoMULLIN. Notre Dame, Indiana : Notre Dame Press, 1986. Pp. 304. $24.96 (cloth). This book offers a stimulating array of perspectives on the one thing about evolutionary theory that directly concerns Christian thinkers: its reconciliation with the Judeo-Christian account of creation. The essays were originally papers delivered at a symposium held at the University of Notr.e Dame. Besides bringing them together in a single volume, the editor, Ernan McMullin, has himself contributed a lucid introductory essay for the sake of historical context. Still, at the book's end, I found myself left with the question that books on this topic always seems to leave me with: Where are the philosophical and theological problems posed by evolutionary theory? To be sure, the cultural and historical impact of Darwin's theory raised questions of reconciliation between biblical claims and scientific evidence, but the perceived philosophical and theological problems were more apparent than real. What gave them bite was the absence of a proper understanding of the difference between philosophical and scientific knowledge created by the collapse of the Aristotelian system in the sixteenth century. The insufficiencies of the Aristotelian science, rendered glaring by the steady emergence of the new science, not only led to the rejection of Aristotelianism vn toto but left an intellectual vacuum which the new science filled. Soon this science was enshrined as the standard of all knowledge. This state of affairs understandably conferred upon the scientific challenge to Christian doctrine an absoluteness that seemed to demand a scientific defense of the biblical account of creation. When, however, the distinction between philosophical and scientific knowledge is observed (I speak here of a philosophy that is a realism), the challenge of evolutionary theories to Christian doctrine evaporates. What "challenges" remain are pseudo-scientific in that they are assertions of philosophical theories of materialism decked out in the clothes of science. Cases in point are the contributions to Evolution and Crea- BOOK REVIEWS 557 tion by John Leslie, "Modern Cosmology and the Creation of Life," James l!,. Ross, "Christians Get the Best of Evolution," and Phillip R. Sloan, " The Question of Natural Purpose." Leslie attempts to cast the design argument in a form that creation scientists would accept. What inspires the project is his fear that the standard objections to design arguments jeopardize scientific development. His is a creative and at times brilliant approach,to the defense of the design argument, which defense he unfortunately weakens, however, by failing to establish a clear line,of demarcation between science and philosophy. He argues that the emergence of life forms bespeaks a fine-tuning and delicacy of balance of nature's laws which demand explanation. He cites as the only plausible alternatives that either the universe is a product of design or there are multiple universes. For if you reject design in favor of proba.bility as the explanation for delicately balanced laws on which life depends, you must argue that this universe of ours is an occurrence of such and such a degree of probability, while other universes represent different probable occurences with different laws, etc. For example, " a 1 percent increase or decrease in the power of the strong nuclear force ruins stellar synthesis of carbon " and "for chemistry to be possible the mass of the neutron must exceed that of the proton, but by no more than approximately a tenth of 1 percent..." But Leslie finds the plausibility of the many universes account weakened by the "serious horizon problems": 66 For as far out as our telescopes can reach, our universe consists of particles with the same relative strengths, and so on. Suppose that these masses and strengths and such were settled probabilistically at some early stage. How came they to be... (shrink)

This essay reads Sylvia Wynter’s only novel The Hills of Hebron as a modern tragedy, one that both challenges and builds upon Raymond Williams’s concept of modern tragedy. The essay’s main argument is that tragedy, as a literary form, and the tragic, as a philosophical concept, are fundamental to Wynter’s project of creating forms of counterpoieses. Engaging Wynter’s interlocution with tragedy is crucial for comprehending how she is able to transform loss into a condition of possibility, primarily for the (...) writing of what she calls “traumatic time.” Instead of only blocking mental representation, traumatic loss in Wynter becomes the first gesture of a philosophical activity that makes presentable that which has been lost or abandoned to a state of ruin, an argument that Walter Benjamin, another writer in dark times, had earlier made in The Origin of German Tragic Drama. Occupying the temporality of the tragic, Wynter has always made the re-assumption of the past—“slave, slave masters and all,” as she says—central to her project of critiquing and dismantling the “descriptive statement” of Man as the only permissible version of the Human. In my reading of The Hills of Hebron, I show how the novel utilizes the aesthetic, particularly the medium of theatricality, as the grounds for a theoretical framework that makes, in a manner redolent of Antigone, “the wretched of the earth” presentable not as “symbolic death” but rather as allegories of resistance. (shrink)

This volume consists of autobiographical by the following scholars, together with pictures and autographs: Raven I. McDavid, Jr., Henry M. Hoenigswald, John B. Carroll, William G. Moulton, Archibald A. Hill, Yakov Malkiel, Charles F. Hockett, Harold B. Allen, William Bright, Einar Haugen, George S. Lane, Frederic G. Cassidy, James B. McMillan, Winfred P. Lehmann, Fred W. Householder, and Dell Hymes. A master list of references, and an index of persons conclude the volume.

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.

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)

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)

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)

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)

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)

Distinguished international scholars examine the neglected issue of the body and its status in classical antiquity.

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)

While it is almost always difficult to identify firm relationships between imaginative works of literature and contemporary philosophy, it seems sure that at any particular time literature and philosophy do not float free of each other. There was a particularly solid basis for the connection in the fourteenth century, when philosophical studies were basic in advanced education and major philosopher-theologians like Walter Burley and John Wycliffe were prominent public figures. Yet significant scholarship that relates Chaucer's poetry to the philosophy of (...) the age is quite limited. A major deterrent to scholars has been a misunderstanding of the philosophical temper of England at the time, especially the influence of nominalism. While it is true that William of Ockham , who is generally thought of as the most typical and influential nominalist, taught at Oxford in the early fourteenth century, it is equally a fact that the great Scholastic realist, John Duns Scotus , also lectured at Oxford shortly after 1300, and that it was mainly realism, not nominalism, that held sway in the English schools in the late fourteenth century. The important philosophers whom we associate with the court of Edward III and with Chaucer's sphere of activity were Scholastic realists: Burley, Thomas Bradwardine, Wycliffe, Ralph Strode. Especially in light of the central position of British philosophers in European Scholastic philosophy during the century, and of Chaucer's learning and wide experience, we may assume that he was exposed to current philosophical thought through his training, personal relationships, and the general cultural climate. In all probability the realist position was dominant in what he heard and learned. (shrink)

This chapter contains sections titled: “Claims to Power” The Rhetoric of the Will to Power “The world viewed from inside”: Nietzsche's Later Atomism “The Logic of Feeling”.

Name der Zeitschrift: Nietzsche-Studien Jahrgang: 44 Heft: 1 Seiten: 67-77.

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)

This chapter contains sections titled: A Divided Socrates: Ambiguity or Ambivalence? Socratic Constructions Socratic Voices Thematizations.

Evidence and Religious Belief contains eleven chapters by prominent philosophers which push the discussion in new directions. The volume has three parts.

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)