Economic methodology has been dominated by developments in the philosophy of science. This book's central thesis is that a great deal can be gained by refocusing attention on developments in the philosophy of mathematics, in particular those that took place over the course of the twentieth century. In this book the authors argue that a close examination of the major developments in the philosophy of mathematics both deepens and enriches our understanding of the formalisation of economics, while also offering novel (...) methods of critically evaluating the strengths and limitations of formalism in economics. This book represents an innovative attempt to more fully understand the complexity of the interaction between developments in the philosophy of mathematics and the process of formalisation in economics. (shrink)

Contemporary developments in economicmethodology have produced a vibrant agenda ofcompeting positions. These include, amongothers, constructivism, critical realism andrhetoric, with each contributing to the Realistvs. Pragmatism debate in the philosophies of thesocial sciences. A major development in theneo-pragmatist contribution to economicmethodology has been Quine's pragmatic assaulton the dogmas of empiricism, which are nowclearly acknowledged within contemporaryeconomic methodology. This assault isencapsulated in the celebrated Duhem-Quinethesis, which according to a number ofcontemporary leading philosophers of economics,poses a particularly serious methodologicalproblem for economics. This problem, (...) asreflected in Hausman's analysis, consists ofthe inability of economics to learn fromexperience, thereby subverting the capacity totest economic theories. In this paper wedispute this position. Our argument is basedon a combination of Quine's holism with VanFraassen's constructive empiricism, especiallythe latter's analysis of empirical adequacy andhis pragmatic approach to explanation. Theresulting reorientation of economic methodologyrestores the capacity of economics to learnfrom experience and reinstates the imperativeof developing alternatives to orthodoxtheorizing in economics. (shrink)

In this book the author is not claiming to offer us a definite doctrine, but rather to outline one among many possible approaches to Christianity. Neither does he believe it to be the last word on the matter, rather he conceives it as a, not the, initial step on the path to true Christian living, necessitated by the crisis in Christianity today. He aims at stimulating critical reflection, and undoubtedly certain passages attain this end.

Abstract Kaldor, one of the leading figures of the post?war ?Cambridge School?, has produced a large volume of methodological writings since the mid?1960s, which we will argue represents one of the major critiques of orthodox equilibrium economic theory produced this century. While Kaldor's position represents a fundamental and radical rejection of the methodological basis of equilibrium economics, he did not provide a systematically formulated alternative methodology for economics. Recent attempts at providing such a reconstruction has argued that scientific realism provides (...) the most convincing philosophical interpretation of Kaldor's methodological contributions. In this paper we will argue that van Fraassen's constructive empiricism represent a more compelling alternative methodological framework to realism for systematizing Kaldor's important contributions. In particular it will be argued that this constructive empiricist reading of Kaldor has the capacity to critically undermine the methodological basis of orthodox equilibrium economics. In addition we explore the potential of this alternative framework to provide a novel and challenging reconstruction of economic methodology. (shrink)

A concise and readable account of Burke's political philosophy.

In lieu of an abstract, here is a brief excerpt of the content:Aristotle’s Phantasia in the Rhetoric:Lexis, Appearance, and the Epideictic Function of DiscourseNed O’GormanIntroductionThe well-known opening line of Aristotle's Rhetoric, where he defines rhetoric as a "counterpart" (antistrophos) to dialectic, has spurred many conversations on Aristotelian rhetoric and motivated the widespread interpretation of Aristotle's theory of civic discourse as heavily rationalistic. This study starts from a statement in the Rhetoric less discussed, yet still important, that suggests that a visual (...) aspect inheres in Aristotle's theory of rhetoric. Near the beginning of book 3, which deals with lexis (style, sometimes subsuming delivery1 ), Aristotle conjoins lexis and phantasia with the copula "is" (eimi): "The subject of expression [lexeôs], however, has some small necessary place in all teaching; for to speak in one way rather than another does make some difference in regard to clarity, though not a great difference; but all these things are forms of outward show [phantasia] and intended to affect the audience" (1404a).2 Whereas scholars exploring the relationship between rhetoric and dialectic have compared and contrasted the Rhetoric and the Topics, I explore rhetoric's relationship with phantasia by reading the Rhetoric alongside De Anima. De Anima is Aristotle's seminal account of the senses and their relationship to psychê (often translated "soul"). It addresses topics intimately connected to rhetoric: perception, cognition, deliberation, visualization, imagination, and the image. Phantasia is integral to each of these psychic processes and to Aristotle's understanding of the function of appearance in human experience. Hence, itis a lens suitable for exploring the relationship between Aristotle's conception of civic discourse and his notions of sight and appearances as they relate to perception, interpretation, deliberation, and judgment. I find in Aristotle's phantasia a tie between his art of rhetoric and his psychology and phenomenology (anachronistic though these terms are). Aristotle's psychological works, as Richard McKeon points out, are foundational to Aristotle's philosophy, and thus to his Rhetoric. [End Page 16] "Psychological inquiries occupy an extremely important position in the philosophy of Aristotle, for the conception of the psychê lays the foundation for the continuity of functions in nature" (1947, 142). De Anima, especially, articulates the psychological and phenomenological conceptions often tacitly at work in the Rhetoric.The importance of phantasia for the trajectory of ancient rhetorical and aesthetic theory is seen in the parallels between the visual arts, rhetoric, and poetics in Greek and Roman thought.3 As David Freedberg states (perhaps, slightly overstates), parallels between painting and poetry are "to be found everywhere in classical literature" (1989, 50). With respect to such visual-verbal parallels in Aristotle, D. Thomas Benediktson's reading of Aristotle's psychological, poetic, and rhetorical works concludes that phantasia ties together the visual and the literary. "[Aristotle's passages on phantasia] do help to see why Aristotle took for granted the similarity, almost the identity, of literature and the visual arts. Both types of art are imagistic; they present to the viewer either an image, as in visual art, or as in literature, a set of moving images that the soul then uses as raw data (phantasia) to enable thought to occur" (2000, 170). Phantasia developed a legacy in Hellenistic aesthetics, where it came to designate suprarealism in painting, moving art "beyond imitation" (Fowler 1989, 180–81). In later Greco-Roman works, phantasia was used to designate vivid imagery in written and oral discourse, imagery that could create sights and scenes in the minds of audience members. As Quintilian noted in his discussion of forensic rhetoric, in Latin phantasiai were termed visiones. Here, phantasiabecame a mode of displacing narrative in rhetorical discourse:There are certain experiences which the Greeks call phantasiai, and the Romans visions [visiones], whereby things absent are presented to our imagination with such extreme vividness that they seem actually to be before our very eyes.... From such impressions arises that enargeia which Cicero calls illumination [illustration] and actuality [evidential], which makes us seem not so much to narrate [dicere] as to exhibit [ostendere] the actual scene.(Institutio Oratoria 4.2.29, 32)Quintilian's invocations of phantasia and enargeia can be traced to Aristotle's discussion of rhetorical style in book... (shrink)