Patrick Turmel,François Boucher,Marie-Noëlle Carré.

Engineering the Climate: The Ethics of Solar Radiation Management is a wide-ranging and expert analysis of the ethics of the intentional management of solar radiation. This book will be a useful tool for policy-makers, a provocation for ethicists, and an eye-opening analysis for both the scientist and the general reader with interest in climate change.

In this groundbreaking book, J. Patrick Dobel describes and analyzes the elements that constitute integrity in public office. Drawing on case studies, memoirs, interviews, and fiction (e.g., John Le Carré), Dobel addresses such issues as when to resign and when to stay in office. He examines the temptations of power, the relation between private and public life, and the role of honor and prudence in making personal decisions. He applies not only moral theory but also the insights of (...) history, organizational theory, and psychology. Unlike most political ethics books, Public Integrity puts personal responsibility at the center of public morality, examining not just the responsibilities of office but also the role of personal moral commitments and promises. This timely book reminds us of the importance of public integrity as well as the demands and challenges that often threaten that integrity, especially in a liberal democracy such as the United States. (shrink)

L’article présente diverses observations faites au forum de Philippes au fil des ans, difficiles à intégrer dans une publication définitive. I. Plusieurs creusements affectent les dalles, surtout dans la partie nord-ouest du dallage : six logements pour rabattre des anneaux ayant peut-être servi aux officiels de la colonie pour attacher leur monture, et cinq trous carrés (deux sont traversants) qui pourraient avoir servi à fixer des mâts. II. Publication de 12 jeux de marelle (un seul avait déjà été illustré) dont (...) la répartition peut donner des indications sur la fréquentation réelle de la place ; en appendice, présentation succincte de 5 autres marelles (4 au marché, 1 dans la rue du Commerce). III. Fragment de cadran solaire en marbre dont le lieu d’exposition pourrait avoir été la rue du Commerce à proximité du forum. IV. Fragment d’une plaque de latrine trouvée dans un remblai, probablement antérieure au milieu du IIe s. p. C., mais dont l’emplacement d’origine ne peut être déterminé. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to David Carr, “The Significance of Music for the Promotion of Moral and Spiritual Value”Iris M. YobDavid Carr has addressed a question that has been lurking in philosophical literature for centuries and, I might add, in our collective intuition as well: Just what is the connection between music and the moral and spiritual life? And as we have come to expect from his work, he brings a (...) new perspective to this perennial question in his answer. First he traces a line of thinking since Plato about music and the ordering of the soul, he touches on the role of music and the other arts in exploring the complexities of the moral imperative as it is lived out in human lives, and returns at the end to give a new take on the old Platonic idea of ordering of the soul. Just maybe, he suggests, the detachment, however temporary, "from the trials and tribulations that beset us in the day to day rough and tumble of human practical affairs" "in the interests of some more balanced perspective" on spiritual and moral matters "might be easier to achieve in the contemplation and appreciation of great works of 'music alone.'"This conclusion does not lay claim to more than what is perfectly reasonable. Allowing oneself to be immersed in a great work of music or art or architecture or dance may very well provide that distance from every day life where one might [End Page 209] re-center and refocus, refresh and renew one's outlook on the world. Such an engagement with an artwork can interrupt the patterns of thinking and acting that might have become increasingly thoughtless and ego-centric. It can be a re-creation in the true sense of the word. Paul Tillich, one of the great twentieth century religious philosophers, tells of an experience he had during the First World War where he served as a chaplain in the German army. On a brief leave from the front he visited Kaiser Friedrich Museum in Berlin and stood entranced before Botticelli's "Madonna and Child with Singing Angels." The moment was spiritually transformative, he tells us, lifting his spirits beyond the mud and grime of the battlefield to contemplate life and meaning on a different plane altogether. The experience enabled him to return to duty with renewed inner strength and calm.1 I believe this is a rather powerful and compelling example of what Carr is talking about.In coming to his conclusion, Carr is relying on the particularly difficult case of "music alone," that is, music that does not have words, title, or any other kind of representative function. In other words his argument does not depend on any didactic nature or morally or spiritually directive intent of the music. Rather, it is centered on music that ostensibly is not about anything. This is musical sound composed and performed for the appreciation of what it is in itself. And yet, in providing distance from the every day world, according to Carr, it can give expression to "realms of spiritual experience that lie beyond the sensual and empirical." Here we enter the world of the metaphorical and symbolic, what Rudolf Otto would call the "irrational" or "superrational," or the realm of the Holy. While Carr does not state this explicitly I would go so far as to say that this realm of the wordless and sacred is where the spiritual and the moral are grounded and from where they draw their power.Against this background, I would like to ask how does "music alone," in the sense intended by Carr and Peter Kivy from whom he borrowed the term bring about this effect? We are unable now to ask Tillich what it was that gave the Botticelli its impact for him, but it is curious that what it did for him it most likely did not do for all the other soldiers from the front who happened upon it the way he did. Tillich would most likely explain its effect by resorting to his theory of symbols, because after all this painting does have a literal meaning that might very well have inspired him. But... (shrink)

Patrick J. Carr and Maria J. Kafalas, Hollowing Out the Middle: The Rural Brain Drain and What It Means for America Content Type Journal Article DOI 10.1007/s10806-010-9266-2 Authors Doug Seale, 21 Turner Ridge Road Marlborough MA 01752 USA Journal Journal of Agricultural and Environmental Ethics Online ISSN 1573-322X Print ISSN 1187-7863.

Tens of thousands of students have learned to be more discerning at constructing and evaluating arguments with the help of Patrick J. Hurley. Hurley’s lucid, friendly, yet thorough presentation has made A CONCISE INTRODUCTION TO LOGIC the most widely used logic text in North America. In addition, the book’s accompanying technological resources, such as CengageNOW and Learning Logic, include interactive exercises as well as video and audio clips to reinforce what you read in the book and hear in class. (...) In short, you’ll have all the assistance you need to become a more logical thinker and communicator. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version. (shrink)

In Phenomenology and the Problem of History. David Carr examines the paradox involving Husserl's transcendental philosophy and his later historicist theory.

Making Sense of Education provides a contemporary introduction to the key issues in educational philosophy and theory. Exploring recent developments as well as important ideas from the twentieth century, this book aims to make philosophy of education relevant to everyday practice for teachers and student teachers, as well as those studying education as an academic subject.

Phenomenological questions differ from those of metaphysics and epistemology. Regarding history, rather than asking: What is history? Or: How do we know history? a phenomenology of history inquires into history as a phenomenon, and into the experience of the historical. How does history present itself to us, how does it enter our lives, and what are the forms of experience in which it does so? The purpose of this essay is to outline a distinctively phenomenological approach to history. History is (...) usually associated with social existence and its past, and so this essay will ask about the experience of the social world and of its temporality. Experience in this context connotes not just observation but also involvement and interaction. We experience history not just in the social world around us but also in our own engagement with it. Philosophers have asked both metaphysical and epistemological questions about history, and some of the best-known philosophies of history have resulted from this questioning. The phenomenological approach is different, but it is not unrelated to these traditional philosophical questions. The later part of this essay will turn in some detail to how phenomenology, though distinct, may connect to these questions. (shrink)

Perhaps the most pressing issue concerning teacher education and training since the end of the Second World War has been that of the role of theory—or principled reflection—in professional expertise. Here, although the main post‐war architects of a new educational professionalism clearly envisaged a key role for theory—considering such disciplines as psychology, sociology and philosophy as indispensable for reflective practice—there are nevertheless well‐rehearsed difficulties about crediting such disciplines with quite the (applied) role in educational practice of (say) physiology or anatomy (...) in medical practice. This paper argues that while recent developments in professional teacher education and training may have moved on from erstwhile instrumentalist and/or applied science (competence and other) perspectives, there may yet be a case for further progress towards a rather more sophisticated philosophical psychology of teacher knowledge and expertise. (shrink)

The Polymath Project is an online collaborative enterprise that was initiated in 2009, when Timothy Gowers asked whether and how groups could work together to solve mathematical problems that “do not naturally split up into a vast number of subtasks.” Gowers proposed to answer this question himself by actually trying to set up such a collaboration, based on interactions taking place in the comment-threads of a series of posts on a WordPress blog. Hence, the first project officially started in early (...) 2009, to be proclaimed successful only 6 weeks later (Gowers and Nielsen 2009). From its inception until April 2018, 15 more Polymath problems (and a handful of smaller or related ones) have been launched. These projects have attracted attention from different scholarly communities, including the philosophy of mathematical practices, from the perspective of which the Polymath Project can be seen as a vast repository of mathematics in action. This chapter continues previous work by its authors on the topic in question and topics related. More specifically, for the purposes of this volume, it is our aim to both summarize and expand upon these earlier contributions. The starting point is the above observation that in the past decade, the issue of “massively collaborative mathematics” (to be qualified below) has drawn quite some attention. However, does it also warrant intensive philosophical attention in particular? For, as exciting as these developments might be from mathematical and other points of view, the enhanced possibilities that have come with it do not per se give rise to any philosophical import. In Van Bendegem (2011), one of us has indeed tentatively argued for the philosophical relevance of these new dynamics of proof construction flowing from the wide availability and efficiency of Internet technology. We shall below briefly rehearse and update the argument given there. (shrink)

"Application of the possibilities for this renewal of temperance comes with an examination of how emotion will help moral deliberation in the clinical practice of medicine. Sir William Osler (1849-1919) and his doctrine of aequanimitas is greatly misunderstood to be the founder of emotional detachment in physician/patient relations. This book offers the most detailed look at aequanimitas in print and equates it with a normative view of temperance as a moral virtue." "For upper-level undergraduate and graduate-level students interested in ethics, (...) bioethics, and moral psychology; Oslerians; and students of Aristotle's and Aquinas' views of the moral virtues."--BOOK JACKET. (shrink)

Introspection, or looking inward to observe one's experience, is inherent in many methods used to study feelings, the experiential component of emotion. Challenges of introspection make faithful, high-fidelity descriptions of feelings difficult to attain. A method that (1) cleaves to a specific moment, (2) cleaves to pristine inner experience, (3) brackets presuppositions, and (4) utilizes an iterative process may be particularly well suited to this task. We review some contemporary introspective methods from the perspective of these four methodological constraints, finding (...) that Descriptive Experience Sampling (DES) addresses the constraints most fully. We present DES findings on feelings to highlight the unique contributions careful introspective methods make to emotion science. High-fidelity descriptions of feelings are necessary for a complete understanding of emotion. (shrink)

Paul Ricoeur was one of the foremost interpreters and translators of Edmund Husserl's philosophy. These nine essays present Ricoeur's interpretation of the most important of Husserl's writings, with emphasis on his philosophy of consciousness rather than his work in logic. In Ricoeur's philosophy, phenomenology and existentialism came of age and these essays provide an introduction to the Husserlian elements which most heavily influenced his own philosophical position.

Der vorliegende Band versammelt Beiträge von Philosophen und Philosophinnen innerhalb der phänomenologischen Forschung, speziell derjenigen Husserls. Die Beiträge zeichnen sich durch ihre innovative Kraft aus, da sie Neuland betreten und der phänomenologischen Forschung neue Wege eröffnen. Die Beiträge repräsentieren den gegenwärtigen Forschungsstand auf internationalem Niveau. Forscher und Forscherinnen aus Österreich, Deutschland, Dänemark, Japan, Taiwan, Italien und den USA sind versammelt. Dieser Band enthält fünf Beiträge in englischer Sprache.

In this ground-breaking new text, Patrick Baert analyses the central perspectives in the philosophy of social science, critically investigating the work of Durkheim, Weber, Popper, critical realism, critical theory, and Rorty's neo pragmatism. Places key writers in their social and political contexts, helping to make their ideas meaningful to students. Shows how these authors’ views have practical uses in empirical research. Lively approach that makes complex ideas understandable to upper-level students, as well as having scholarly appeal.

Depuis une vingtaine d'années, les réflexions d'Axel Honneth se sont imposées comme une référence majeure dans les domaines de la philosophie morale, sociale, et politique. L'enjeu que soulève la pensée critique de Honneth est alors d'examiner si, aujourd'hui, les institutions de la reconnaissance auxquelles nous participions - la famille, le marché du travail, l'État de droit, l'espace public - méritent véritablement le qualificatif de "démocratiques". Pages de début Introduction I. La reconnaissance et ses luttes II. Une conception de la justice (...) sociale III. Redistribution ou reconnaissance? IV. Les institutions de la reconnaissanceConclusion. Le droit de la reconnaissance Bibliographie Pages de fin. (shrink)

It would appear that certain deeper concerns about epistemic status and credibility underlie recent heated controversies about faith schools. The evident hostility of secular liberals to religious education in general and faith schools in particular rests on the deep-seated conviction that religious claims, beliefs and narratives are essentially non-rational, if not irrational, and therefore that no religious instruction could avoid indoctrination. Proceeding via an exploration of the non-literal signification of myth and fiction, this essay sets out to show how religious (...) and other non-literal stories and narratives can be routes to objective meaning and truth that fully engage reason and understanding as well as feeling and emotion. However, the article also acknowledges the likely reservations of some religious believers to any such approach. (shrink)

The Handbook of Modal Logic contains 20 articles, which collectively introduce contemporary modal logic, survey current research, and indicate the way in which the field is developing. The articles survey the field from a wide variety of perspectives: the underling theory is explored in depth, modern computational approaches are treated, and six major applications areas of modal logic (in Mathematics, Computer Science, Artificial Intelligence, Linguistics, Game Theory, and Philosophy) are surveyed. The book contains both well-written expository articles, suitable for beginners (...) approaching the subject for the first time, and advanced articles, which will help those already familiar with the field to deepen their expertise. Please visit: http://people.uleth.ca/~woods/RedSeriesPromo_WP/PubSLPR.html - Compact modal logic reference - Computational approaches fully discussed - Contemporary applications of modal logic covered in depth. (shrink)

Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archeology, anthropology, (...) biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene–culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution because of their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music. (shrink)

The common or lay view of the contribution of Freudian and psychoanalytic theory to our understanding of human sexual conduct seems to be that it is essentially subversive of traditional or conventional sexual morality. For does not the psychoanalytic discovery of psychological causes over which we have no direct control reveal that whatever we may be inclined to do from sexual motives is not a matterfor guilt or shame? Does it not show that much of the sexual guilt and shame (...) that we do experience is merely the product of inhibitions and repressions which are the result of dubiously rational social taboos and parental prohibitions? The main impact of Freudian or psychoanalytic views on modern popular thought about sexual morality andconduct would appear to amount to little more than a collection of such vague beliefs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Significance of Music for the Moral and Spiritual Cultivation of VirtueDavid CarrIs There any Virtue in Music?Given its time-honored place, along with other arts, in many if not most past and present school curricula it would seem that at least some forms of music have been widely credited with educational value. Beyond the general association of music with high culture and, notwithstanding the evident discipline involved in learning (...) to play musical instruments, however, it is less clear what sort of value this might be. Despite the considerable ethical complexity of much art and the vexed nature of any relationship between the moral and the aesthetic, one may clearly regard very many works of literature, much representational painting, and even some dances as having some moral educational significance. That said, it may be less clear how other arts or art genres—such as music or abstract painting—could be said to have much significant moral import or content (as well as being unreasonably procrustean to insist that they should). Indeed, recalling the well-known point of Richard Peters about the inherently normative character of the concept of education—that it would be hard to regard a man as educated [End Page 103] who had not in some sense been made 'better'1 —one way of posing the present question might be to ask whether, regardless of its potential for pleasure, there is much if any real virtue in music?Plato and Scruton on Music and MoralsThere is, to be sure, a long tradition of reflection on the moral implications of music, and questions about the effects of music on moral development and character are of course raised in several Platonic dialogues. Thus, in one part of the Republic, Plato explores in some detail what he takes to be the effects on character of the various Greek musical modes, arguing for the moral superiority of those that foster courage and self-discipline over those that promote sensuality and self-abandon.2 Such claims also seem mostly consistent with a general Platonic aesthetics that precludes any role for the arts beyond service to a strict morality of individual self-control and social order. There are also, however, other sections of the Republic in which Plato envisages another softer role for music (broadly construed to include also literature and poetry) as a counterbalance to an excess of physical education, which can produce "savagery and hardness."3 Still, to whatever extent Plato might here be trying to have his case and eat it, his explicit claim that only the Dorian and Phrygian modes are suitable for moral consumption are probably more consistent with the broad drift of Platonic aesthetics. Generally, Plato's view appears to be that music—in the narrower rather than broader (Greek) sense—is a kind of ordered affect-charged auditory experience, that some forms of musical order are more conducive to the harmony or balance of the soul than others, and that a healthy human soul or character should in some way reflect the harmony of appropriate or approved forms of music.Although the logical and/or psychological status of such bygone claims is far from easy to evaluate, something of the spirit of Platonic thought on music and virtue seems discernible in more recent writings on the philosophy of music. Thus, Roger Scruton's case for the musical and moral superiority of serious classical works over much latter day popular music would appear to rest mainly on considerations relating to the greater structural order, organization, and complexity of the former over the latter.4 Like Plato, Scruton would seem to regard musical form, order, and organization as directly linked to emotional discipline, so that whereas the classics may be expected to cultivate ordered passion and sensibility, the unmelodic, discordant, and rhythmically unsubtle sounds of much modern popular music can only be expected to engender crude, disorganized, and uncontrolled feelings. Scruton makes much of the decline of dance under the influence of such contemporary musical anarchy, as precisely exhibited in the abandonment of conventions governing the control, for individually and [End Page 104] socially significant purposes, of physical gesture and bodily movement. Hence, although Scruton... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Significance of Music for the Moral and Spiritual Cultivation of VirtueDavid CarrIs There any Virtue in Music?Given its time-honored place, along with other arts, in many if not most past and present school curricula it would seem that at least some forms of music have been widely credited with educational value. Beyond the general association of music with high culture and, notwithstanding the evident discipline involved in learning (...) to play musical instruments, however, it is less clear what sort of value this might be. Despite the considerable ethical complexity of much art and the vexed nature of any relationship between the moral and the aesthetic, one may clearly regard very many works of literature, much representational painting, and even some dances as having some moral educational significance. That said, it may be less clear how other arts or art genres—such as music or abstract painting—could be said to have much significant moral import or content (as well as being unreasonably procrustean to insist that they should). Indeed, recalling the well-known point of Richard Peters about the inherently normative character of the concept of education—that it would be hard to regard a man as educated [End Page 103] who had not in some sense been made 'better'1 —one way of posing the present question might be to ask whether, regardless of its potential for pleasure, there is much if any real virtue in music?Plato and Scruton on Music and MoralsThere is, to be sure, a long tradition of reflection on the moral implications of music, and questions about the effects of music on moral development and character are of course raised in several Platonic dialogues. Thus, in one part of the Republic, Plato explores in some detail what he takes to be the effects on character of the various Greek musical modes, arguing for the moral superiority of those that foster courage and self-discipline over those that promote sensuality and self-abandon.2 Such claims also seem mostly consistent with a general Platonic aesthetics that precludes any role for the arts beyond service to a strict morality of individual self-control and social order. There are also, however, other sections of the Republic in which Plato envisages another softer role for music (broadly construed to include also literature and poetry) as a counterbalance to an excess of physical education, which can produce "savagery and hardness."3 Still, to whatever extent Plato might here be trying to have his case and eat it, his explicit claim that only the Dorian and Phrygian modes are suitable for moral consumption are probably more consistent with the broad drift of Platonic aesthetics. Generally, Plato's view appears to be that music—in the narrower rather than broader (Greek) sense—is a kind of ordered affect-charged auditory experience, that some forms of musical order are more conducive to the harmony or balance of the soul than others, and that a healthy human soul or character should in some way reflect the harmony of appropriate or approved forms of music.Although the logical and/or psychological status of such bygone claims is far from easy to evaluate, something of the spirit of Platonic thought on music and virtue seems discernible in more recent writings on the philosophy of music. Thus, Roger Scruton's case for the musical and moral superiority of serious classical works over much latter day popular music would appear to rest mainly on considerations relating to the greater structural order, organization, and complexity of the former over the latter.4 Like Plato, Scruton would seem to regard musical form, order, and organization as directly linked to emotional discipline, so that whereas the classics may be expected to cultivate ordered passion and sensibility, the unmelodic, discordant, and rhythmically unsubtle sounds of much modern popular music can only be expected to engender crude, disorganized, and uncontrolled feelings. Scruton makes much of the decline of dance under the influence of such contemporary musical anarchy, as precisely exhibited in the abandonment of conventions governing the control, for individually and [End Page 104] socially significant purposes, of physical gesture and bodily movement. Hence, although Scruton... (shrink)

As a recent distinguished editor of British Journal of Aesthetics and a major contributor in his own right to recent debates on aesthetics and the philosophy of art – not least in the particular field with which this particular volume is concerned – Peter Lamarque is particularly well placed to author this survey of past and contemporary work on the philosophy of literature. Moreover, as those already familiar with Professor Lamarque's work will no doubt expect, this volume offers remarkably clear (...) and extensive coverage of a wide and complex philosophical field in its relatively short space of under 300 pages. Following a short preface, the work is divided into seven chapters. The first, entitled ‘Art’, generally explores the relationship between philosophy, literary theory, art. (shrink)

This paper develops and refines the suggestion that logical systems are conceptual artefacts that are the outcome of a design-process by exploring how a constructionist epistemology and meta-philosophy can be integrated within the philosophy of logic.