1 Background for the Uninitiated RICHMOND CAMPBELL Paradoxes are intrinsically fascinating. They are also distinctively ...

Modern epistemology has run into several paradoxes in its efforts to explain how knowledge acquisition can be both socially based and still able to determine objective facts about the world. In this important book, Richmond Campbell attempts to dispel some of these paradoxes, to show how they are ultimately just "illusions of paradox," by developing ideas central to two of the most promising currents in epistemology: feminist epistemology and naturalized epistemology. Campbell's aim is to construct a coherent theory of (...) knowing that is feminist and "naturalized." Illusions of Paradox will be valuable for students and scholars of epistemology and women's studies. (shrink)

We present a unified empirical and philosophical account of moral consistency reasoning, a distinctive form of moral reasoning that exposes inconsistencies among moral judgments about concrete cases. Judgments opposed in belief or in emotion and motivation are inconsistent when the cases are similar in morally relevant respects. Moral consistency reasoning, we argue, regularly shapes moral thought and feeling by coordinating two systems described in dual process models of moral cognition. Our empirical explanation of moral change fills a gap in the (...) empirical literature, making psychologically plausible a defensible new model of justified moral change and a hybrid theory of moral judgment. (shrink)

My chief aim has been to convey the thought that the application of model theoretic techniques to natural languages needn't force a distortion of intentional phenomena. I hope that at least I have succeeded in accomplishing this.

This article uses Hans Kelsen's theory of a legalsystem to take a fresh look at European Community law,and the relationship between the European Community,its Member States, and international law. It arguesthat the basis of the Community's legal legitimacy isindeterminate, and offers a model to accommodate thatindeterminacy. This model is founded on aconstructivist approach suggested to be particularlyuseful in the EC context. Using this approach, it isargued that the concepts of system, autonomy andsovereignty in the Community can only be understoodthrough the (...) recognition of a plurality of viewpoints,and that it is crucial, in describing the Community,to distinguish between a concept per se and thechoice to adopt that concept. (shrink)

This chapter begins with a discussion of Indian theories of inference. It identifies the unique features of Indian logic not found in Western logic. Indian theories of inference are primarily theories of adequate evidence, but they may also be viewed as systems of nonmonotonic reasoning, which is being used in modern computer simulation of actual human reasoning processes. The chapter then discusses Nyāya logic, Buddhist logic, Jaina logic, and Navya–Nyāya logic.

Davidson argues that metaphorical sentences express no propositional contents other than the explicit literal contents they express. He offers a causal account, on the one hand, as an explanation of the supposed additional content of a metaphor in terms of the effects metaphors have on hearers, and on the other hand, as a reason for the non-propositional nature of the “something more” that a metaphor is alleged to mean. Davidson’s account is meant to restrict the semantic notions of meaning, content, (...) and truth, to literal sentences. I argue that the Davidsonian causal account does not satisfactorily account for metaphor’s figurativeness, speakers’ assertion and hearers’ uptake of metaphor, and our discursive practices of using metaphors in disagreements and argumentation. I offer a non-compositional analysis of a semantic account of metaphor within which one can make sense of the applicability of the notions of meaning and content to metaphor. This analysis shows that metaphorical sentences have meanings other than, and in addition to, their literal meanings and what speakers can use them to mean. (shrink)

In Kitcher’s ‘pragmatic naturalism’ moral evolution consists in pragmatically motivated moral changes in response to practical difficulties in social life. No moral truths or facts exist that could serve as an ‘external’ measure for moral progress. We propose a psychologically realistic conception of moral objectivity consistent with this pragmatic naturalism yet alive to the familiar sense that moral progress has an objective basis that transcends convention and consensus in moral opinion, even when these are products of serious, extended and collaborative (...) reflection. (shrink)

It is more than a half-century since Nelson Goodman [1955] applied what we call the Reflective Equilibrium model of justification to the problem of justifying induction, and more than three decades since Rawls [1971] and Daniels [1979] applied celebrated extensions of this model to the problem of justifying principles of social justice. The resulting Wide Reflective Equilibrium model (WRE) is generally thought to capture an acceptable way to reconcile inconsistency between an intuitively plausible general principle and an intuitively plausible judgment (...) about a particular case. Recently a different model for reconciling moral inconsistency has emerged: Moral Consistency Reasoning [Campbell and Kumar 2012, 2013a; Kumar and Campbell 2012; Campbell 2009: 86?7; Campbell and Woodrow 2003; Wong 2002]. MCR applies when two moral judgments give opposing assessments of (what appear to be) relevantly similar particular cases. Though WRE and MCR are strikingly different, each arguably captures a rationally acceptable method for reconciling moral inconsistency. Moreover, as will be shown, they function in complementary ways. Are they parts of a more comprehensive model of moral reasoning in the face of inconsistency that would explain the attractions of each? This essay first spells out the relevant differences between the models and then formulates a more general model of moral reasoning in the face of inconsistency. ?1 reviews the emergence of Goodman's model that he offers in the spirit of epistemology naturalized, almost a decade before Quine coined the term [1969a]. ?2 analyses six salient features of WRE to be compared with six contrasting features of MCR in ?3. ?4 presents the general model. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being (...) a case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being (...) a case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

The interpretation of indirect discourse is one of the most persistent and pervasive themes in post-Fregean semantics. Since Frege we have managed to learn a good deal about the workings of various technical approaches to indirect discourse, but fundamental philosophical issues have remained unresolved.

A propositional system of modal logic is second-order if it contains quantifiers ∀p and ∃p, which, in the standard interpretation, are construed as ranging over sets of possible worlds (propositions). Most second-order systems of modal logic are highly intractable; for instance, when augmented with propositional quantifiers, K, B, T, K4 and S4 all become effectively equivalent to full second-order logic. An exception is S5, which, being interpretable in monadic second-order logic, is decidable.

Moral knowledge appears to require moral judgments to be states of belief, yet they must at the same time be states of desire and feeling if they embody the motivation that we feel when we make moral judgments. How can the same judgment be a state of belief and a state of desire or feeling, simultaneously? [...] This problem may be resolved, I shall contend, by understanding moral judgments to be complex, multifunctional states that normally comprise both states of belief (...) that represent possible moral truths and states of emotion and motivation. (shrink)

In this paper, I take a critical look at the Davidsonian argument that metaphorical sentences do not express propositions because of the phenomenological experience—seeing one thing as another thing—involved in understanding them as metaphors. According to Davidson, seeing-as is not seeing-that. This verdict is aimed at dislodging metaphor from the position of being assessed with the semantic notions of propositions, meaning, and truth. I will argue that the phenomenological or perceptual experience associated with metaphors does not determine the propositional contentfulness (...) or truth-evaluability of metaphors. Truth-evaluability is not inconsistent but compatible with a perceptual model for metaphors. I argue for this partly by showing that seeing-as does not constitute understanding of metaphors when understanding is appropriately construed in terms of being able to use an expression. (shrink)