Aristotle's remarks about the differences between the sexes have become infamous for their implications for the social status of women. In his observations on female biology, Aristotle claims that "the female nature is, as it were, a deformity." In describing women's role in the public sphere, he claims that women are naturally subordinate because, while they possess a deliberative faculty, that capacity is "without authority." While both claims express the "inferiority" of female bodies/women relative to male bodies/men, it is not (...) self-evident that the defects Aristotle identifies in female biology have cognitive or moral manifestations that would justify the rule of men over women in political life. Marguerite Deslauriers here aims to construct a coherent picture of Aristotle's views on sexual and gender-based difference from these remarks and to show the extent to which his views on female biology and women's role in politics are causally connected. Without exculpating Aristotle from charges of misogyny, Deslauriers contextualizes his explanations of the role and origin of female animals in his biology and the role of women in his political philosophy; she shows how Aristotle developed these views and the importance they hold for his wider philosophical commitments. She then explores how Aristotle might have seen the link between the physiology of sex and the bearing it has on political life. She ultimately argues that in Aristotle's conception of sexual difference in biology and politics, there is a tension between his view of the inferiority of female bodies and women and his commitment to the idea that females and women are valuable both for generation and for the political life characteristic of human beings. In this tension she finds a difference between Aristotle and his predecessors: while previous accounts associate sexual difference with affliction, Aristotle sees sexual difference as a benefit, both to a species and a political community. This volume will be of interest to philosophers and students interested in ancient philosophy, feminist philosophy, as well as those studying moral and political philosophy. (shrink)

This book is about Karl Popper's early writings before he began his career as a philosopher. The purpose of the book is to demonstrate that Popper's philosophy of science, with its emphasis on the method of trial and error, is largely based on the psychology of Otto Selz, whose theory of problem solving and scientific discovery laid the foundation for much of contemporary cognitive psychology. By arguing that Popper's famous defence of the method of falsification as well as his elaboration (...) of an evolutionary theory of knowledge are equally indebted to German psychology, Michel ter Hark challenges the received view of the development of Popper's philosophy. The book concludes with a reinterpretation of Popper's theory of the mind-body problem, emphasizing its contemporary relevance. (shrink)

Envy and resentment are generally thought to be unpleasant and unethical emotions which ought to be condemned. I argue that both envy and resentment, in some important forms, are moral emotions connected with concern for justice, understood in terms of desert and entitlement. They enable us to recognise injustice, work as a spur to acting against it and connect us to others. Thus, we should accept these emotions as part of the ethical life.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 71-75 [Access article in PDF] Response to Kingsley Price's "How Can Music Seem to be Emotional" Marguerite Nering Calgary, Canada Kingsley Price argues that music, since it is not personal, cannot be emotional but can only seem emotional. In an earlier draft of this paper he described it more fully: "Music is not a person, cannot possibly harbor an inward life, (...) and cannot possibly be emotional." He then sets out to discover how music, since for him it is not emotional, can seem to be so. Through a step-by-step process of philosophical inquiry, he first looks within perception and not finding an answer there, searches without, mainly focusing on meaning and Susanne Langer's theory of emotion and music. His search is unrewarded, leaving him to conclude that the answer to his question remains an incomprehensible mystery.His logic at first seems impervious to dispute. Had he not strictly limited his meaning of music and emotion-particularly emotion-it may have simplified responding to his query. For him, "music" refers to instrumental music that is heard or perceived. "Emotion" means conscious feelings we find ourselves in when undergoing emotion.The major question one must ask is whether his basic premise is accurate. Is he correct in stating that music unequivocally is not emotional but only seems so? [End Page 71] Is he correct in stating that music does not harbor an inward life? After all, he is talking about instrumental music that is perceived. While one cannot deny that notated music on paper is not emotional, does this hold for instrumental music being performed and transmitted? The source is a live human, someone who has an inward life, or at least did have at the time of production. The receptor is alive and has an inward life. The human source is sending living music imbued with emotion and energy. The airwaves transport these vibrations. Can we really say that the living or live music reaching the receiver's ears is not carrying real emotion?Returning to Price's analysis, we find he looks first at perception itself, in this case sense perception, and determines that it has two major constituents: awareness and the object of awareness. He argues that awareness cannot seem to exist; it must exist. It is always simple; therefore, there can be no characteristic that makes it seeming and not real. I question whether the latter conclusion necessarily follows, that is, that reality is a consequence of simplicity, but I must agree that awareness by virtue of its existence must be real.Music heard is the object of awareness. He states that the distinction between seeming and reality does apply to some things-for example, to Macbeth seeing a dagger that really is not there-but declares that this cannot apply to music heard, for it actually exists. Does this mean that one cannot hear music that really is not there? The illusion should work for hearing if it works for vision. Back to his argument, because music heard exists, he reasons that one cannot say that the seeming emotionality in music can be traced to the character of the music that bears it. I wonder then how this would apply to a person playing music with real emotion for his or her own enjoyment? In this case the human receptor of music is also the human source of the music. They are one and the same, and this person of course has an inward personal life. Does this music only seem emotional or is it really emotional? It would make sense that it is really emotional.He then looks at whether the seemingness of emotionality can be traced to emotionality itself and deduces that it cannot. Emotions are real. If we feel joy, it is real joy we are feeling and not seeming joy. One cannot debate this. Again, however, I am not convinced of the seemingness of the emotionality of music. Because music comes from a living person, it is an extension... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 71-75 [Access article in PDF] Response to Kingsley Price's "How Can Music Seem to be Emotional" Marguerite Nering Calgary, Canada Kingsley Price argues that music, since it is not personal, cannot be emotional but can only seem emotional. In an earlier draft of this paper he described it more fully: "Music is not a person, cannot possibly harbor an inward life, (...) and cannot possibly be emotional." He then sets out to discover how music, since for him it is not emotional, can seem to be so. Through a step-by-step process of philosophical inquiry, he first looks within perception and not finding an answer there, searches without, mainly focusing on meaning and Susanne Langer's theory of emotion and music. His search is unrewarded, leaving him to conclude that the answer to his question remains an incomprehensible mystery.His logic at first seems impervious to dispute. Had he not strictly limited his meaning of music and emotion-particularly emotion-it may have simplified responding to his query. For him, "music" refers to instrumental music that is heard or perceived. "Emotion" means conscious feelings we find ourselves in when undergoing emotion.The major question one must ask is whether his basic premise is accurate. Is he correct in stating that music unequivocally is not emotional but only seems so? [End Page 71] Is he correct in stating that music does not harbor an inward life? After all, he is talking about instrumental music that is perceived. While one cannot deny that notated music on paper is not emotional, does this hold for instrumental music being performed and transmitted? The source is a live human, someone who has an inward life, or at least did have at the time of production. The receptor is alive and has an inward life. The human source is sending living music imbued with emotion and energy. The airwaves transport these vibrations. Can we really say that the living or live music reaching the receiver's ears is not carrying real emotion?Returning to Price's analysis, we find he looks first at perception itself, in this case sense perception, and determines that it has two major constituents: awareness and the object of awareness. He argues that awareness cannot seem to exist; it must exist. It is always simple; therefore, there can be no characteristic that makes it seeming and not real. I question whether the latter conclusion necessarily follows, that is, that reality is a consequence of simplicity, but I must agree that awareness by virtue of its existence must be real.Music heard is the object of awareness. He states that the distinction between seeming and reality does apply to some things-for example, to Macbeth seeing a dagger that really is not there-but declares that this cannot apply to music heard, for it actually exists. Does this mean that one cannot hear music that really is not there? The illusion should work for hearing if it works for vision. Back to his argument, because music heard exists, he reasons that one cannot say that the seeming emotionality in music can be traced to the character of the music that bears it. I wonder then how this would apply to a person playing music with real emotion for his or her own enjoyment? In this case the human receptor of music is also the human source of the music. They are one and the same, and this person of course has an inward personal life. Does this music only seem emotional or is it really emotional? It would make sense that it is really emotional.He then looks at whether the seemingness of emotionality can be traced to emotionality itself and deduces that it cannot. Emotions are real. If we feel joy, it is real joy we are feeling and not seeming joy. One cannot debate this. Again, however, I am not convinced of the seemingness of the emotionality of music. Because music comes from a living person, it is an extension... (shrink)

ABSTRACT:A key factor in the decision to convert a publicly owned company to private status is the expectation that value will be created, providing the firm with rent. These rents have implications regarding the property rights of the firm’s capital-contributing constituencies. We identify and analyze the types of rent associated with the newly private firm. Compared to public firms, going private allows owners the potential to partition part of the residual risk to bond holders and employees, rendering them to be (...) co-residual risk bearers with owners. We propose that new promotion-based contracts with bond holders and employees, reflecting their particular investments, be negotiated as the firm migrates from public to private status. These contracts should acknowledge the firm’s intent to maximize shareholder value and its need to take the risks necessary to do so, but support that the firm’s survival not be undermined due to its possibly opportunistic owners. (shrink)

On the basis of his unpublished thesis ‘Gewohnheit und Gesetzerlebnis in der Erziehung’ a historical reconstruction is given of the genesis of Popper's ideas on induction and demarcation which differs radically from his own account in Unended quest. It is shown not only that he wholeheartedly endorses inductive epistemology and psychology but also that his ‘demarcation’ criterion is inductivistic. Moreover it is shown that his later demarcation thesis arises not from his worries about, on the one hand, Marxism and psychoanalysis (...) and, on the other hand, Einstein's physics, but rather from his urgent preoccupation with providing pedagogy with a psychological foundation, which has its sources in Karl Bühler's cognitive psychology as well as, surprisingly, Adler's Characterology. Aside from Adler some lesser known psychologists, such as Karl Groos, will also be seen to have played a formative role on Popper's early thinking. (shrink)

Is love essential to ethical life, or merely a supplement? In Kant's view, respect and love, as duties, are in tension with each other because love involves drawing closer and respect involves drawing away. By contrast, Irigaray says that love and respect do not conflict because love as passion must also involve distancing and we have a responsibility to love. I argue that love, understood as passion and based on respect, is essential to ethics.

In a reading of René Descartes's The Passions of the Soul, Luce Irigaray explores the possibility that wonder, first of all passions, can provide the basis for an ethics of sexual difference because it is prior to judgment, and thus nonhierarchical. For Descartes, the passion of generosity gives the key to ethics. I argue that wonder should be extended to other differences and should be combined with generosity to form the basis of an ethics.

The idea that we acquire knowledge by trial and error has been one of the truly great ideas of the twentieth century. As no reader of his philosophical and autobiographical work could have failed to notice, Karl Popper credits himself for having invented this idea. The theory of trial and error or, in Popper's words, the Searchlight theory of knowledge and mind, is not just a part of Popper's comprehensive philosophy but rather one of its key features. It is at (...) the bottom of some of his most spectacular achievements in methodology, epistemology, the philosophy of biology, and even political philosophy. Indeed, it is put forward at once as a model for the growth of individual knowledge (both human and animal), the growth of life (Darwin's theory of evolution), and the growth of scientific knowledge (philosophy of science). As happens so often with innovative ideas, the Searchlight theory derives much of its glamour from the theory it rejects: the view of the mind being a tabula rasa and sense perception the origin of all (human) knowledge. Popper nicknames this empiricists' view as the Bucket theory since it conceives of the mind as nothing but the conduit for sense-impressions, an empty bucket to be filled by the accumulation and storage of information. 1 In his hands the Bucket theory collapses under the strain of philosophical arguments and scientific facts and is replaced by a theory which maintains that our knowledge of the physical world is drawn from our mind and constructed from the repertoire of knowledge dispositions we already possess. Acquiring dispositions proceeds according to the method of trial and error elimination. This method, Popper contends, consists essentially of three stages: forming a problem or expectation, trying out a number of solutions of the problem, and eliminating or discarding false solutions as erroneous. 2 A key feature of Popper's theory of trial and error elimination, and the reason for speaking of a Searchlight theory of knowledge and mind, is his insistence that problems or expectations take precedence over observations. Observations are always preceded by expectations, points of view, questions or problems which, as a searchlight, illuminate a certain area, thereby enabling the organism or the scientist to know what to observe in the first place. -/- The question arises how and when did Popper come to this theory of the growth of knowledge and mind which was to have such radical implications for the philosophy of science, epistemology, and the philosophy of psychology? My aim in this article is to trace the roots of his theory of the Searchlight. The earliest traces of the theory are to be found in his unpublished dissertation, Zur Methodenfrage der Cognitive psychology (1928). Here I will focus upon this "hasty last minute affair" written in the tradition of early German cognitive psychology and supervised by one of its most outstanding proponents, Karl Bühler. Scrutiny of this manuscript, however, reveals not so much the formative influence of Bühler as that of Otto Selz. Indeed, I will argue that Popper borrowed his crucially important Searchlight theory from Selz. Thus having found the origin of the key notion of his epistemology in psychology, the relation between psychology and philosophy in Popper's work, always fraught with tension, is up for thorough reconsideration. (shrink)

This work examines Aristotle's discussions of definition in his logical works and the Metaphysics, and argues for the importance of definitions of simple ...

The aim of this article is to show that one of Popper's key ideas in epistemology, his so-called theory of the searchlight, is derived from early German Denkpsychologie, in particular the theory of schematic anticipations of Otto Selz. With his theory of schematic anticipations Selz intended to replace various forms of association psychology. Likewise Popper's theory of the searchlight aims to replace empiricism in epistemology (the Bucket theory, as he calls it). On the basis of Popper's still unpublished manuscripts on (...) psychology between 1927 and 1931, it is shown that his position became increasingly Selzian. The term "Bucket theory" is used by him for the first time in an article in which he defends Selz, and in his earlier Ph.D. thesis there occur passages which show him in complete agreement with the theory of schematic anticipations. It is argued that Popper's Selzian stance in psychology finally enabled him to develop his characteristic deductive stance in epistemology and philosophy of science. It is also emphasized that Popper never credits Selz for this formative role. (shrink)

This article draws on the sociology of expectations to examine the construction of expectations of ‘ethical AI’ and considers the implications of these expectations for communication governance. We first analyse a range of public documents to identify the key actors, mechanisms and issues which structure societal expectations around artificial intelligence and an emerging discourse on ethics. We then explore expectations of AI and ethics through a survey of members of the public. Finally, we discuss the implications of our findings for (...) the role of AI in communication governance. We find that, despite societal expectations that we can design ethical AI, and public expectations that developers and governments should share responsibility for the outcomes of AI use, there is a significant divergence between these expectations and the ways in which AI technologies are currently used and governed in large scale communication systems. We conclude that discourses of ‘ethical AI’ are generically performative, but to become more effective we need to acknowledge the limitations of contemporary AI and the requirement for extensive human labour to meet the challenges of communication governance. An effective ethics of AI requires domain appropriate AI tools, updated professional practices, dignified places of work and robust regulatory and accountability frameworks. (shrink)

Early feminist or pro-woman works often combine the claim that the rational souls of men and women are the same with an argument for the superiority of women. This article considers two such works, Lucrezia Marinella's The Nobility and Excellence of Women and the Defects and Vices of Men (Venice, 1601 [1999]) and Marguerite Buffet's In Praise of Illustrious Learned Women, both Ancient and Modern (Paris, 1668), in order to show the continuities and distinctive features of feminist arguments for (...) superiority, to emphasize the differences in the conceptions of reason and physiology that distinguish them, and to demonstrate that claims of superiority persisted even as those defending women's worth began to adopt egalitarian positions. (shrink)

ABSTRACTIn the debate about the worth of women in sixteenth and seventeenth century Italy three pro-woman authors of the period, Moderata Fonte, Lucrezia Marinella, and Arcangela Tarabotti, develop...

Iris Marion Young argues we cannot understand others' experiences by imagining ourselves in their place or in terms of symmetrical reciprocity (1997a). For Young, reciprocity expresses moral respect and asymmetry arises from people's greatly varying life histories and social positions. La Caze argues there are problems with Young's articulation of asymmetrical reciprocity in terms of wonder and the gift. By discussing friendship and political representation, she shows how taking self-respect into account complicates asymmetrical reciprocity.

The prospect of organic unified knowledge challenges the increasing fragmentation of scientific disciplines which have become narrowly specialized with the accelerating rate of discoveries and the shaky status of many inductively obtained theories. Yet proof checkers which can control the logical correctness of reasoning offer the possibility of developing an integrative, deductive approach encompassing many branches of science within the same framework. The Principia Humanistica, developed by Krzysztof de Werszowec Rey, constitute such an attempt to apply the Mizar system of (...) verification to the human and related sciences as well as theology. Mizar is based on set theory whose terms may define the individual, value choices, the human person, culture, and religion. This essay explores the Mizar framework, including the definition of valuation and religion. It seeks to show the possibilities opened by such an integrated multidisciplinary approach for the study of free will, the definition of courage, and convergence towards unification with God. (shrink)