Determining how to best measure cross‐sector collaboration (CSC) impact and performance has long been a prevalent topic of discussion for both practitioners and researchers. However, there is a lack of consensus in practitioner journals and academic research in how CSC results should be monitored, reported, and evaluated. Using a case study approach, this article describes how to measure the economic impact of nonprofits and CSCs using both granular and broad metrics to better understand how a nonprofit involved in a CSC (...) can impact the regional economy in which it operates. Using the lens of social exchange theory, this study explains how measured results translates into a tangible community benefit via a multiplied economic impact. This study presents a clear framework for measuring and comparing the results of CSCs. The findings show a potential need to take the population of service regions into consideration in order to drive economic impact. In addition to providing an approach to measuring CSC results this work also extends social exchange theory and CSC research into new directions. (shrink)

The number of training programs for the responsible conduct of research has increased substantially over the past few decades as the importance of research ethics has received greater attention. It is unclear, however, whether the proliferation of RCR training programs has improved researcher integrity or the public's trust in science. Rather than training researchers simply to comply with regulations, we could use the opportunity to develop researchers' ability to understand and appreciate the ethical ideals that inform the regulations in order (...) to help them integrate ethical decision-making into their work on a regular basis. Incorporating ethical principles into research training requires a new way of teaching RCR and the development of support materials to facilitate its adoption. The Presidential Commission for the Study of Bioethical Issues, a panel established to advise the President on bioethical issues arising from advances in biomedicine and related areas of science and technology, developed and provides pedagogical materials based on its published reports to facilitate the integration of ethics education across the curriculum and in support of RCR and general bioethics education. (shrink)

ABSTRACT This article develops a theory of rhetorical impression through a critical genealogy of the term phantasia. The genealogy demonstrates cause for understanding phantasia as impression, not image. I trace phantasia as impression through the work of Plato and Aristotle but ultimately argue that the stoics offer the most productive leads for thinking through impressions, materiality, and sensations together. Specifically, I demonstrate how the stoics' concept of lekton can productively mediate the relationship between rhetoric, materiality, imagination, and idealism. In the (...) closing section, I suggest how a theory of rhetorical impression can address lacunae in existing new materialist approaches. (shrink)

Spelling can be a source of anxiety for school children and working professionals alike. Yet the spelling of words in English is not as random or chaotic as it is often perceived to be; rather, it is a system based on both meaning and a fascinating linguistic history. Misty Adoniou's public articles on the processes of teaching and learning spelling have garnered an overwhelming response from concerned parents and teachers looking for effective solutions to the problems they face in (...) teaching English spelling to children. Spelling It Out aims to ease anxiety and crush the myth that good spelling comes naturally. Good spelling comes from good teaching. Based on Misty Adoniou's extensive research into spelling learning and instruction, this book encourages children and adults to nurture a curiosity about words, discover their history and, in so doing, understand the logic behind the way they are spelled. (shrink)

Spelling can be a source of anxiety for school children and working professionals alike. Yet the spelling of words in English is not as random or chaotic as it is often perceived to be; rather, it is a system based on both meaning and a fascinating linguistic history. Misty Adoniou's public articles on the processes of teaching and learning spelling have garnered an overwhelming response from concerned parents and teachers looking for effective solutions to the problems they face in (...) teaching English spelling to children. Spelling It Out, Revised edition aims to ease anxiety and crush the myth that good spelling comes naturally. Good spelling comes from good teaching. Based on Misty Adoniou's extensive research into spelling learning and instruction, this book encourages children and adults to nurture a curiosity about words, discover their history and, in so doing, understand the logic behind the way they are spelled. (shrink)

The U.S. federal government provides two tracks for eligible patients to obtain access outside clinical trials to investigational interventions currently under study for potential clinical benefits: the Food and Drug Administration’s expanded access pathway and the pathway created by the more recent Right to Try Act. In this issue of the Hastings Center Report, with a critical focus on patients, industry, and the research enterprise, Kelly Folkers and colleagues frame the inherent challenges that these pathways are meant to solve and (...) have also inadvertently created. But an additional key focus is how the relevant situations should be managed at the bedside and how the system risks both inefficient and inequitable access to options at the institutional level. Although either pathway could be helpful to patients, the challenges of having the pathways coexist are greater than the sum of their parts. Individual clinicians represent the front line of the regulatory and eligibility challenges of expanded access and right to try, making clinical education a critical component of a comprehensive approach to using them well. But it is medical institutions that must take the lead on supporting access to investigational options in the most equitable and effective manner possible. (shrink)

This paper takes stock of Parfit’s latest defence of his meta-ethical view, non-realist cognitivism. In the third volume of On What Matters, Parfit gives his account a new—as I am going to show: conceptual—spin. Also, quite surprisingly, he takes back much of his earlier criticism of rival theories and claims instead that he and his opponents, Allan Gibbard and Peter Railton, are climbing the same meta-ethical mountain on different sides.Mainly focusing on the new spin in Volume III, I argue for (...) the following four claims. Firstly, non-realist cognitivism can easily be accepted by all those believing in the irreducibility of normative concepts. Secondly, Parfit succeeds in avoiding Mackie-style queerness objections. However, thirdly, once we fully grasp the conceptual rather than metaphysical core of non-realist cognitivism, it becomes clear that the view, if successful, would accomplish much less than Parfit’s talk about irreducible, non-natural normative facts may have previously suggested. Finally, I argue that the conceptual spin generates a problem regarding one of the crucial pillars of non-realist cognitivism, namely the status of normative facts as objective or mind-independent. It remains entirely unclear how the view could account for this status. All in all, non-realist cognitivism doesn’t clear up the mists covering the heights of the meta-ethical mountain. It is still a long climb to the summit, and in order to reach it, we have to answer many questions Parfit doesn’t address. (shrink)

At a time when the ‘end’ of comparative philosophy has been announced1 or comparative philosophy has been taken to be a pragmatic enterprise, implying the ‘end’ of a realist interpretation of comparative philosophy,2 the book under review here, The Misty Land of Ideas and the Light of Dialogue: An Anthology of Comparative Philosophy: Western & Islamic, edited by Ali Paya, appears to be aiming at bucking the trend. It sets out, according to its editor, to contribute to a realist (...) conception of comparative philosophy. The book chapters cover topics related to both comparative philosophy and meta-comparative philosophy. This... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:126 HISTORY OF PHILOSOPHY be used in a thousand different ways; it has been a misty halo which could be summoned to surround all revolution and every reaction. To the extent that the limitation upon man's right to consent to either tyranny or chaos was ignored or rejected in particular circumstances, it became associated with the dream of all the discontented and unfortunate. It has been a symbol (...) which might be invoked by all who have sought power with the support of the people. Popular sovereignty almost, but never quite, became the principle that work-a-day political justice is merely what the people want. The transition from historic popular sovereignty to Western democracy was a product of an age of confusion which began in the sixteenth century. On the one hand, there were specific things which it was considered that the power of the people should do, and therewith emerged the whole problem of what practical techniques the people might use. On the other hand, the basic divisions in modern theory of the function of public opinion appeared as the problem's philosophical counterpart (p. 12). Prof. Wilson traces the growing recognition and respect for "opinion" in politics from Plato, who had a low opinion of it, through the Medieval controversies to Marsilius of Padua, who, on Aristotelian premises formulated the "modern" principle that "the whole body of the citizens, or the weightier multitude thereof, which must be taken for the same thing, can better discern what must be elected and what rejected than any part of it taken separately" (p. 28). From this doctrine to the theory of popular sovereignty the way is fairly evident. But the story from the faith in popular sovereignty to a genuine theory of the legitimate and useful functions of public opinion and to a conception of institutionalized public opinion, which is central to modern democratic theories, is an intricate development. This story the author tells with great skill and with many references to the important literature. HERBERT W. SCHNEIDER Claremont, CaliJornia Rational Man: A Modern Interpretation of Aristotelian Ethics. By Henry Babcock Veatch. (Bloomington: Indiana University Press, 1962. Pp. 226. ~5.00.) Professor Veatch's book is an engaging one in its plea that philosophers be allowed to write (and that some should write) in "normative ethics" and not just in "recta-ethics." It is only less engaging in its exposition and advocacy of a Socratic-Aristotelian doctrine that the good life for man is an "examined life" and is a striving for the natural end of man as a rational animal. It is least engaging (and least accurate) in its counterattack, probably uncalled for in the thesis, on Moore's attack on the "naturalistic fallacy," which Mr. Veatch holds responsible, whatever may have been Moore's intention, for all the noncognitivists--emotivistor existentialist or popular. Moore's criticism of the naturalistic fallacy, right or wrong, has had the tribute of an extraordinary number of interpretations and criticisms in turn. Mr. Veatch's will not, I think, add to our understanding of the matter. Aristotle's opening "The good is that at which all things aim" is notoriously equivocal. Does it tell us what things aim at or what the good is? Mr. Veatch takes it as defining good but as needing, and having, the specification that the good is what a thing aims at "by nature," properly. I do not think this is Aristotle's basic doctrine. His very equivocality and circularity is perhaps his final sagacity in a subject not meant for scientific precision and he might better be taken on his word in the Rhetoric: The good is what would be chosen by the ablest man, with relevant knowledge, if the man is good. Virtue has happiness as its aim and happiness is a life in accordance with virtue. BOOK REVIEWS 127 And yet, with all his caviling, Aristotle does back up Socrates's examined life and his acceptance of arete as arete of someone and for something with the application of "know thyself" to the definition of man as a rational animal and with the advice that we try (some few) to reason and (all) to be... (shrink)

In this work, we will approach some essential questions about the collective imaginary and their relations with reality and truth. We should face this subject in a conceptual framework, followed by the corresponding factual analysis of demonstrable behavioral realities. We will adopt not only the methodology, but mostly the tenets and propositions of the analytic philosophy, which certainly will be apparent throughout the study, and may be identified by the features described by Perez : -/- Rabossi (1975) defends the idea (...) that analytic philosophy can be identified by considering certain family resemblances. He suggests the following family traits: a positive attitude toward scientific knowledge; a cautious attitude toward metaphysics; a conception of philosophy as a conceptual task, which takes conceptual analysis as a method; a close relationship between language and philosophy; a concern with seeking argumentative answers to philosophical problems; search for conceptual clarity Perez, Diana Ines, "Analytic Philosophy in Latin America”, The Stanford Encyclopedia of Philosophy ). These core concepts involve cultural, social, religious, scientific, philosophic, moral, and political contents, belonging to the individual and collective existence of each one of us. The present work grounds itself on analytical reflection. We will speculate the most comprehensive and profound way we can and express the results of our thoughts. Notwithstanding the multidisciplinary nature of the subject and the methodological openness for accepting contributions from any field of science, this work belongs to the aim of psychology and ontology or, in other terms, social and ontological psychology. The main scope of this paper is to observe how some essential evolutionary attributes of humankind, like creativity, imagination, and association, can become a hazardous sickness, sheltered in the misty shadows of the intelligence. (shrink)

A riddle or a joke? I regret having made light of both myself and the reader. However, the concept of complexity has been explored with such intensity and pedantry, has been analyzed from so many points of view – the mathematical, linguistic, physical, chemical, political, psychological, sociological, physiological, algorithmic, logical, religious, and metaphysical – that nothing, not even the title of this piece, can escape it. Indeed the situation has reached the point where we grow misty-eyed over the very (...) thought of the discrete charms of yesterday's simplicity. Sometimes we dream that complexity itself, after having given us so much, muses – now that its task is fulfilled – of flying up miraculously into the sky, like the Virgin Mother (the Assumption); or ourselves wish to experience – for those spirits who prefer to keep their feet on the ground(!) – the “dissolution” with which entropy begins. Isn't it true that certain words, marked by the spirit of their age, are themselves in fact carried away by the spirit of the age? (shrink)

"This is a book about humanists, but even humanists cannot agree on what a humanist is," declares Sarah Bakewell. Indeed, for centuries now, thinkers, writers, scholars, politicians, activists, artists, and countless others have been searching for and refining a philosophy of the human spirit. Humanism can be found in writings of Plato and Protagoras and in the thought of Confucius. It is ever-present in the work of Michel de Montaigne, and guided the thinking and activism of Harriet Taylor Mill. When (...) Zora Neale Hurston writes, "Somebody else may have my rapturous glance at the archangels. The springing of the yellow line of morning out of the misty deep of dawn, is glory enough for me." That is humanism par excellence. In Humanly Possible, Bakewell puts forward that all the different meanings of "humanism" are worth looking at together because they are all concerned with humanitas, or, as she puts it, "our culture and learning, our words and art, our good manners and sociable desire to say hello to the universe." What unites humanists, religious or not, scholarly or not, philosophical or not, is that they all put the human world of culture and morality at the center of their concerns. What could be more human than that? Embracing and indeed celebrating humanism's swirling, kaleidoscopic, rich ambiguity, Bakewell sets out not just to trace this vital philosophical lineage through the lives of its major protagonists but in fact to make her own dazzling contribution to its expansive literature. The result is an intoxicating, joyful celebration of the human spirit from one of our most beloved and charming writers. (shrink)

This essay reads a short narrative, “Savoir” by Hélène Cixous, to describe susceptibility as a problem organized around two lines of impingement: between subject and world and between consciousness and the wayward impulses of interior life. The young girl in Cixous’s text suffers a moment of disorientation and distress one misty morning and, against presumptions of inviolability and ideals of subjective consistency, this unhappy event comes to resonate with her disappointed trust in the generosity of the world, her anxious (...) sense of betrayal with respect to those who ought to protect her and her insecurity about her own role in this complex of associations. The frame of susceptibility thus opens up a space for Cixous’s reader and this essay to think the subject in her inconsistency and self-strangeness. (shrink)

Frege seems committed to the thesis that the senses of the fundamental notions of arithmetic remain stable and are stably grasped by thinkers throughout history. Fully competent practitioners grasp those senses clearly and distinctly, while uncertain practitioners see them, the very same senses, “as if through a mist”. There is thus a common object of the understanding apprehended to a greater or lesser degree by thinkers of diverging conceptual competence. Frege takes the thesis to be a condition for the possibility (...) of the rational intelligibility of mathematical practice. I argue however that the idea that senses could be grasped as a matter of degree is in tension with the constitutive theses that Frege held with regard to sense. Given those theses, there can in fact be no such thing as misty grasp of sense, since any uncertainty as to the logical features of a given sense will entail that one is getting hold of a different sense or of no sense at all. I consider various ways of resolving the tension and conclude that Frege’s thesis cannot be defended if we take it to be a thesis about our competence with concepts. This leaves unresolved what I call the problem of normative guidance, that is, the problem of explaining how the fundamental notions of logic and arithmetic can provide inferential guidance to thinkers. (shrink)

In Born to Wonder, Alister McGrath, a prolific Oxford scholar, scientist, and theologian, explores the deepest mystery at the heart of life itself. Life is a gift. We never asked to be born. Yet here we are, living in this strange world of space and time, trying to work out what it's all about before the darkness closes in and extinguishes us. We are adrift on a misty, grey sea of ignorance, seeking a sun-kissed island of certainty, on which (...) we might hope to find clear answers to our deepest and most poignant questions. What is the point of life? Why are we here? And what is it about us that makes us want to ask these questions? As far as we know, we're the only species on earth that asks these questions, and dares to hope that we might find an answer. It seems that we are born to wonder, not merely to exist. From time to time, all of us find ourselves overwhelmed by a sense of awe or mystery, often when confronted with the beauty of nature, whether it is a mountain stream or the vast expanse of ocean waters. That is when we see a flicker of a grander vision of reality, perhaps lying beyond the horizons of our experience. It is as if, for only a moment, a veil is removed, and we catch a half-glimpsed sight of a promised land, waiting to be mapped and explored. This sense of wonder fuels much of humanity's creativity and its search for understanding. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

As an undergraduate at the University of Melbourne in the 1980s, I recall a story that used to circulate to the effect that Australian philosophers were realists (the term prefixed by the obligatory adjective "hard-headed") because we lived in a harsh, sunlit environment where no misty meadow or morning fog obscured the objective reality of a mind-independent physical universe.

In this essay I trace the relationship between philosophy and politics in Hannah Arendt’s work, with specific reference to the tension between her Socratic commitments and her appeal to “common sense” or sensus communis. I argue Arendt’s idea of a “common sense of the world” gives rise to a conception of the public realm that has too much shape and integrity to fit the often misty and particulate nature of contemporary reality. This is not the familiar critique of Arendt (...) as a nostalgic Grecophile. Rather, it is a critique aimed at the phenomenological concept of “world” underlying her analysis. This concept—derived, but notably different, from Husserl’s and Heidegger’s respective conceptions—relies on background practices and understandings that are thick enough to sustain both a common public culture and a shared “sense of the world.” I suggest that Arendt’s appeal to a sensus communis runs aground of the moral and value pluralism that both Weber and Berlin have suggested are constitutive features of modernity. I conclude with some remarks on the relationship between Arendt’s critique of modernity and Socratic philosophical critique and Frankfurt School Critical Theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Poems on MemoryAlessio ZanelliMICROCHIMERISMI feel them,the way I feel the stardust seeping through my skin.I feel them in the light and in the dark,in absolute silence and in deafening noise,in peaceful days and in gloomy days,while awake and while asleep.They whisper to me who I am,where I came from and where I'm headed.They uphold mewhen my body falters or my mind breaks down.I feel them loud and cleareven (...) though turmoil surrounds me,and I wonder whether she can feel them in turn,wherever she is now.And if our swapped cells don't do the job,I'm sure we'll join anewas waves afloat in spacetime,liminal ripples invisibly entwinedthat eternally propagate within the whole,within the cosmic womb astir with zillions more. [End Page 465]TIMEHanging on in quiet desperation—Roger Waters1They were right. We would get to know the hoax.They had ridden the carousel before.The swallows have always been returning,only fewer with every passing year,though they have never really gone away.Now they speak to me in dreams, one by one.The time has come. To regret time. And all.We are drops off the stalactites of time,settling the concretions of memory.And the sun burns on. Up and down around. [End Page 466]WHIFFSLight has no edge, darkness has no center, both have shape.They visit with me briefly, quick life whiffs,between a misty trip into nowhere and the next.They speak a few words, terse phrases,neat like scratches of diamond over limestone,in a forgotten lively voice,from a time long before they left.I gather nothing, mostly, no real sense.I retrieve a very distant memory, every so often,as if arising from yesterday.They hardly show themselves while speaking,and when they do I can but have a fleeting glance.Their face shines upon an invisible body,illuminates the whole ambience,belongs in an older past,not the last I have known with them.It is a face from youth,one I am allowed to recall only when they appear.Why do they come if they cannot stay?How is it they take the long way around?What do they mean?Maybe youth is the message.Maybe they just want me to thinkI have been young, we all have, together.There could be more I miss, I must still realize.I may do one day, or never, but it is already enough.A few words and a face.A darting glow.Whiffs.Edge has light, center has darkness, both have no shape.Cremona, ItalyAlessio ZanelliCremona, ItalyFootnotes1. Pink Floyd, "Time," by Roger Waters, on The Dark Side of the Moon, Abbey Road Studios, originally released 1973.Copyright © 2023 Johns Hopkins University Press... (shrink)

Representationalists who hold that phenomenal character can be explained in terms of representational content currently cannot explain counter-examples that involve indeterminate perceptual content, such as in the case of objects seen blurrily by someone with poor eyesight, or objects seen vaguely in misty conditions. But this problem can be resolved via provision of a more sophisticated double content (DC) view, according to which the representational content of perception is structured in two nested levels. I start by outlining the DC (...) view via consideration of four closely related cases of perceptual imprecision. Then, after a demonstration that the DC view can also explain imprecise photographic content, inadequacies in the more standard single content (SC) view are demonstrated. The results are then generalized so as to apply to the content of any kinds of non-conventional representation. The paper continues with evidence that a DC account provides a moderate rather than extreme realist account of perception, and it concludes with an initial analysis of the failure of nomic covariance accounts of information in indeterminacy cases. (shrink)

This work offers a new theory of what it means to be a legal person and suggests that it is best understood as a cluster property. The book explores the origins of legal personhood, the issues afflicting a traditional understanding of the concept, and the numerous debates surrounding the topic.

It is not the case that God is interestingly like the unavailable transcendental signified in being unavailable. God always was absconded. The signified may not even really have gone away at all. And if it has, it is not God; it is only like Him in having gone away. And it has gone away, if it has, in a different mode of ‘going away’.To use a Turneresque metaphor: God is and will always be another, far, range behind the misty-but-glittering (...) and absconded signifieds, which leave only the trace which is the play of signifiers in the immediate foreground.One is free to attend to whichever range one wishes, or one may attend only to the foreground. But the dazzlingsublime 12 of the foreground, “That change of cloud and light, never-ending and agitating itself into kaleidoscopic patterns, the play of signifiers”, is—and never could be—quite like the “sublime” of the far, far range whose Inhabitant is said to be, “From everlasting to everlasting”. His “play” is said to be not of signifiers, butof all there is; it is notsemiological butontological. And He is altogether beyond the sublime, for with Him, or with the Beatific Vision of Her,there would be no critical problem left.The Logos is not a signifier. (shrink)

In this article we focus on three key precepts shared by Confucianism and the African ethic of Ubuntu: the central value of community, the desirability of ethical partiality, and the idea that we tend to become morally better as we grow older. For each of these broad similarities, there are key differences underlying them, and we discuss those as well as speculate about the reasons for them. Our aim is not to take sides, but we do suggest ways that Ubuntu (...) and Confucianism might have something to learn from each other and perhaps come closer. We hope that our preliminary reflections can inspire further debate and thinking on a theme – dialogues between long-standing and large-scale non-Western traditions – that is bound to increase in importance as non-Western societies play a greater role in the global system and as the search continues for a 'global ethic'. (shrink)

Exploring history pertinent to evolutionary developmental biology (hereafter, Evo-devo) is an exciting prospect given its current status as a cutting-edge field of research. The first and obvious question concerns where to begin searching for materials and sources. Since this new discipline adopts a moniker that intentionally juxtaposes ‘evolution’ and development’, individuals, disciplines, and institutional contexts relevant to the history of evolutionary studies and investigations of ontogeny prompt themselves. Each of these topics has received attention from historians and thus there is (...) both primary and secondary material from which to draw. For example, many historians have documented the historical trajectories of genetics and embryology, their split, and various relations (or lack thereof), especially in the first three decades of the 20th century. (shrink)

Can God create a stone too heavy for him to lift? Can time have a beginning? Which came first, the chicken or the egg? Riddles, paradoxes, conundrums--for millennia the human mind has found such knotty logical problems both perplexing and irresistible. Now Roy Sorensen offers the first narrative history of paradoxes, a fascinating and eye-opening account that extends from the ancient Greeks, through the Middle Ages, the Enlightenment, and into the twentieth century. When Augustine asked what God was doing before (...) He made the world, he was told: "Preparing hell for people who ask questions like that." A Brief History of the Paradox takes a close look at "questions like that" and the philosophers who have asked them, beginning with the folk riddles that inspired Anaximander to erect the first metaphysical system and ending with such thinkers as Lewis Carroll, Ludwig Wittgenstein, and W.V. Quine. Organized chronologically, the book is divided into twenty-four chapters, each of which pairs a philosopher with a major paradox, allowing for extended consideration and putting a human face on the strategies that have been taken toward these puzzles. Readers get to follow the minds of Zeno, Socrates, Aquinas, Ockham, Pascal, Kant, Hegel, and many other major philosophers deep inside the tangles of paradox, looking for, and sometimes finding, a way out. Filled with illuminating anecdotes and vividly written, A Brief History of the Paradox will appeal to anyone who finds trying to answer unanswerable questions a paradoxically pleasant endeavor. (shrink)

La filosofía de la historia se ha debatido durante siglos en una estéril lucha entre idealistas y materialistas. El libro de Ignacio Ellacuría es un intento de superar esa dicotomía clásica. Tomando como punto de partida algunos conceptos fundamentales de la filosofía de Zubiri, Ellacuría cree posible asumir y a la vez criticar ambos extremos, desde una actitud más realista. De ahí el título del libro. Es importante destacar que la historia, para Ignacio Ellacuría, es el lugar de realización de (...) la ética. La historia no está hecha, se construye, es un proceso de creación de posibilidades humanas, y, en tanto que tal, una labor ética. La tesis de Zubiri de que el hombre tiene que hacerse cargo de la realidad, en Ellacuría se transforma en esta otra: el ser humano está obligado a encargarse de la realidad, y a cargar con ella. Este es el imperativo ético. Imperativo que, por otra parte, no sólo le obliga individualmente al hombre, en el reducto de la propia conciencia, al modo del idealismo, ni tampoco sólo en tanto que miembro de una clase social, como en el marxismo, sino como sujeto a la vez individual y específico, como miembro a la vez solitario y solidario de la especie humana. La obra póstuma de Ignacio Ellacuría constituye sin duda su más ingente trabajo intelectual en el campo de la filosofía, y representa, por su calidad y contenido, una pieza clave para comprender no solamente su producción estrictamente filosófica, sino también su pensamiento teológico y socio-político. (shrink)

Beginning with a Cuban Catholic ritual in Miami, this book takes readers on a momentous theoretical journey toward a new understanding of religion.

Tom 1. Rannekhristianskiĭ gnosticheskiĭ tekst v rossiĭskoĭ kulʹture (21 i︠a︡nvari︠a︡ 2011 g.) -- Tom 2. Sudʹby religiozno-filosofskikh iskaniĭ Nikolai︠a︡ Novikova i ego kruga (15-17 okti︠a︡bri︠a︡ 2012 g.).

Si tratta di una lunga recensione critica del libro su Spirito scritto da uno dei suoi migliori conoscitori.

Ludwig Wittgenstein (1889-1951) was an extraordinarily original thinker, whose influence on twentieth-century thinking far outside the bounds of philosophy alone. In this engaging Introduction, A.C. Grayling makes Wittgenstein's thought accessible to the general reader by explaining the nature and impact of Wittgenstein's views. He describes both his early and later philosophy, the differences and connections between them, and gives a fresh assessment of Wittgenstein's continuing influence on contemporary thought.

El propósito de esta obra es sacar del olvido los valores del pensamiento español y testimoniar con ello la vigencia que en aspectos decisivos sigue teniendo. La irradiación de este pensamiento en el mundo ha sido inferior a la influencia que ha ejercido lo español en otros aspectos culturales. ¿Cuáles son las causas de la infravaloración de nuestra aportación a la historia de las ideas? ¿Se debe ello a la escasa calidad de nuestros filósofos o a factores exógenos como el (...) desconocimiento, silenciamiento o deformación de la cultura teórica creada por nuestros grandes pensadores? El libro que el lector tiene ahora en sus manos no es una apología de la Filosofía española. Intenta ser un análisis objetivo de lo que ha aportado ésta a la Philosophia perennis; se consignan por tanto las limitaciones, pero también las virtudes, de nuestra filosofía. En las páginas que siguen Heleno Saña intentará demostrar que la realidad del pensamiento de los filósofos españoles es muy distinta, y sobre todo mucho más importante, a la que sobre él decretaron Hegel y sus seguidores. (shrink)

This essay some first steps toward the naturalization of what I call rational intentionality or alternatively type II intentionality. By rational or type II intentionality, I mean that full combination of rational powers and content-bearing states that is paradigmatically enjoyed by mature intact human beings. The problem I set myself is to determine the extent to which the only currently extant approach to the naturalization of the intentional that has the singular virtue of not being a non-starter can be aggregated (...) up into an account of rational intentionality. I have in mind a broadly defined family of accounts whose main members are the indicator/information-theoretic approach of Dretske (1988), the asymmetric dependence theory of Jerry Fodor (1987, 1990, 1994) and the teleo-semantics of Ruth Millikan (1984, 1993). Somewhat inaccurately, I will call this family of approaches the information-theoretic family. To be sure, there is only a rough family resemblance among the members of the information-theoretic family. Indeed, several intense quarrels divide the members of that family one from another, but the precise outcome of those internecine struggles is not directly relevant to the aims of this essay. ² Taken collectively, the information-theoretic family yields a compelling picture of the place of at least a crude form of intentionality -- what I call frog-like or type I intentionality -- in the natural order. Though frog-like or type I intentionality is, I think, a genuine species of intentionality, it may subsist in the absence of rational powers. It is that species of intentionality enjoyed by irritable creatures who, following Brandom (1994). (shrink)

What can--and what can't--philosophy do? What are its ethical risks--and its possible rewards? How does it differ from science? In Philosophy as a Humanistic Discipline, Bernard Williams addresses these questions and presents a striking vision of philosophy as fundamentally different from science in its aims and methods even though there is still in philosophy "something that counts as getting it right." Written with his distinctive combination of rigor, imagination, depth, and humanism, the book amply demonstrates why Williams was one of (...) the greatest philosophers of the twentieth century. Spanning his career from his first publication to one of his last lectures, the book's previously unpublished or uncollected essays address metaphysics, epistemology, and ethics, as well as the scope and limits of philosophy itself. The essays are unified by Williams's constant concern that philosophy maintain contact with the human problems that animate it in the first place. As the book's editor, A. W. Moore, writes in his introduction, the title essay is "a kind of manifesto for Williams's conception of his own life's work." It is where he most directly asks "what philosophy can and cannot contribute to the project of making sense of things"--answering that what philosophy can best help make sense of is "being human." Philosophy as a Humanistic Discipline is one of three posthumous books by Williams to be published by Princeton University Press. In the Beginning Was the Deed: Realism and Moralism in Political Argument was published in the fall of 2005. The Sense of the Past: Essays in the History of Philosophy is being published shortly after the present volume. (shrink)

In academic philosophy and popular culture alike, pity is often framed as a virtue or the emotional underpinnings of virtue. Yet, people who are the most marginalized and, hence, most often on the receiving end of pity, assert that it is anything but an altruism. How can we explain this disconnect between an understanding of pity as a virtuous emotion versus a social harm? My paper answers this question by showing how pity is not only an emotion, but also a (...) power relation. Using the ideas of Sartre’s Anti-Semite and Jew, I explain how pity is understood as harmful by the one pitied because he is acutely aware of how it obscures his unequal power relation to the pitier and denies the pitier’s role in creating this domination. This is all done with an eye toward what I see as the quintessential class of people who are harmed by pity: people with disabilities. (shrink)