Looks at how history affects contemporary life, discusses the individual's role in history, and describes the author's efforts to popularize history.

Carroll, Peter This year we Salesians of Don Bosco are celebrating 200 years since the birth of our founder, St John Bosco, and it is impossible to understand who we are now without an awareness of the circumstances within which we were born. John Bosco's life spanned a turbulent period of massive change in the city of Turin, where he founded his ministry. It was the era of the Risorgimento, when city-states and larger kingdoms were recovering from the (...) Napoleonic invasions at the turn of the century and, after a series of wars of independence, merged into the unified nation of Italy. (shrink)

ObjectivesTo describe reporting of informed consent in pragmatic trials, justifications for waivers of consent and reporting of alternative approaches to standard written consent. To identify factors associated with (1) not reporting and (2) not obtaining consent.MethodsSurvey of primary trial reports, published 2014–2019, identified using an electronic search filter for pragmatic trials implemented in MEDLINE, and registered in ClinicalTrials.gov.ResultsAmong 1988 trials, 132 (6.6%) did not include a statement about participant consent, 1691 (85.0%) reported consent had been obtained, 139 (7.0%) reported a (...) waiver and 26 (1.3%) reported consent for one aspect (eg, data collection) but a waiver for another (eg, intervention). Of the 165 trials reporting a waiver, 76 (46.1%) provided a justification. Few (53, 2.9%) explicitly reported use of alternative approaches to consent. In multivariable logistic regression analyses, lower journal impact factor (p=0.001) and cluster randomisation (p<0.0001) were significantly associated with not reporting on consent, while trial recency, cluster randomisation, higher-income country settings, health services research and explicit labelling as pragmatic were significantly associated with not obtaining consent (all p<0.0001).DiscussionNot obtaining consent seems to be increasing and is associated with the use of cluster randomisation and pragmatic aims, but neither cluster randomisation nor pragmatism are currently accepted justifications for waivers of consent. Rather than considering either standard written informed consent or waivers of consent, researchers and research ethics committees could consider alternative consent approaches that may facilitate the conduct of pragmatic trials while preserving patient autonomy and the public’s trust in research. (shrink)

Objective: There are benefits and risks of giving patients more granular control of their personal health information in electronic health record (EHR) systems. When designing EHR systems and policies, informaticists and system developers must balance these benefits and risks. Ethical considerations should be an explicit part of this balancing. Our objective was to develop a structured ethics framework to accomplish this. -/- Methods: We reviewed existing literature on the ethical and policy issues, developed an ethics framework called a “Points to (...) Consider” (P2C) document, and convened a national expert panel to review and critique the P2C. -/- Results: We developed the P2C to aid informaticists designing an advanced query tool for an electronic health record (EHR) system in Indianapolis. The P2C consists of six questions (“Points”) that frame important ethical issues, apply accepted principles of bioethics and Fair Information Practices, comment on how questions might be answered, and address implications for patient care. -/- Discussion: The P2C is intended to clarify whatis at stake when designers try to accommodate potentially competing ethical commitments and logistical realities. The P2C was developed to guide informaticists who were designing a query tool in an existing EHR that would permit patient granular control. While consideration of ethical issues is coming to the forefront of medical informatics design and development practices, more reflection is needed to facilitate optimal collaboration between designers and ethicists. This report contributes to that discussion. (shrink)

Sean Carroll argues that we should endorse atheism since there are no good reasons for affirming the more complex thesis of theism over the less complexthesis of materialism. However, this argument relies on an epistemological minimalism we should reject.

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in (...) order to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

Spanning some twenty-five years of work, an intriguing study of the photography of Charles Lutwidge Dogson presents a rich array of more than 450 images that capture diverse facets of Victorian society, his relationship with the children he photographed, portraits of famous personalities of the time, narrative tableaux, and bizarre studies of anatomical skeletons.

This chapter illustrates a theory that describes how certain modal statements, including counterfactual sentences, are dependent on context. Building on the work of Robert Stalnaker and David Lewis, its application to a familiar argument for fatalism and a recent exchange about time-traveler freedom between Kadri Vihvelin and Ted Sider is considered. This chapter presents a new perspective on the flaws and the seductiveness of both the fatalist argument and the freedom paradox. This new perspective may be applied to arguments for (...) incompatibilism advanced by Carl Ginet and Peter van Inwagen. The issue of the compatibility of free will and determinism is generally regarded as one of the most serious metaphysical issues about human freedom. Consequence arguments of the sort made famous by Inwagen and Ginet are the leading arguments in favor of incompatibilism. (shrink)

Carroll shaped the corporate social responsibility discourse into a four-dimensional pyramid framework, which was later adapted to corporate citizenship and sustainability approaches. The four layers of the pyramid—structured from foundation to apex as economic, legal, ethical, and philanthropic responsibilities—drew considerable managerial attention. An important criticism of the economic foundation of the Carroll pyramid concerns the identification and ordering of the four dimensions, which are inadequately justified theoretically. The authors of this article propose an alternative approach that builds on (...) the public value concept, which integrates a microfoundation of psychological research into basic human needs. Drawing on their Swiss Dialogue process, the authors argue that a four-dimensional pyramid does have heuristic value for managers. The advantage of this alternative pyramid logic is that it may be contingently adapted to different cultural contexts, because it allows adaptive internal reordering. (shrink)

Film and the Emotions explores the complicated relationship between filmed entertainment, such as movies and television shows, and our capacity to feel emotions. This volume of The Midwest Studies in Philosophy covers topics such as the role of imagination in our capacity to respond emotionally to films, how emotions felt in response to films relate to emotions felt about real events, and the moral implications of responding emotionally to fictions, among others. This collection includes nineteen original articles from experts on (...) film and emotion, including Noel Carroll, Gregory Currie, Susan Feagin, Stacie Friend, Robert Hopkins, Peter Lamarque and Peter Goldie, Derek Matravers, Carl Plantinga, and Murray Smith. (shrink)

This paper presents a tree method for testing the validity of inferences, including syllogisms, in a simple term logic. The method is given in the form of an algorithm and is shown to be sound and complete with respect to the obvious denotational semantics. The primitive logical constants of the system, which is indebted to the logical works of Jevons, Brentano and Lewis Carroll, are term negation, polyadic term conjunction, and functors affirming and denying existence, and use is also (...) made of a metalinguistic concept of formal synonymy. It is indicated briefly how the method may be extended to other systems. (shrink)

Cornell College in Mount Vernon, Iowa, has established a new interdisciplinary program in science and religion. One of the features of this program is an undergraduate major in science and religion that requires substantial course work in at least one of the natural sciences as well as course work in philosophy, religion, and history. As a result of a grant from the John Templeton Foundation, Cornell College will offer a special course, God and Physics: From Aquinas to Quantum Mechanics (April (...) 1998), and will sponsor an international symposium on creation and contemporary cosmology (April 1999). Opportunities exist for interested scholars to come to Cornell as Templeton Visiting Fellows in order to participate in these activities. (shrink)

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia (...) Eaton, Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

The paper proposes a radical change of focus for understanding the fundamental purpose and value of literary interpretation. It criticises an orthodox view in analytical philosophy of literature, according to which theories of meaning in the philosophy of language, in particular Gricean or speech act or other pragmatic theories, offer the most illuminating way to grasp the relevant principles of interpretation. The argument here is that the application of such theories in this context is not just wrong in detail (this (...) or that theory needs revising) but wrong in principle. The focus is wrong. The importation of philosophy of language distorts the essential character of interpretation, which should be seen as involving not so much meaning as value, not individual sentences but whole works, not obsessed with authorial intention but focused on the protocols of reading. (shrink)

It appears that indexicals must have fine-grained senses for us to explain things involving human action and emotions, and we typically identify these different senses with different modes of expression. On the other hand, we also express the very same thought in very different ways. The first problem is the problem of cognitive significance. The second problem is what Branquinho (1999) has called the problem of cognitive dynamics. The question is how we can solve both of those problems at the (...) same time. Vojislav Božičković (2021) offers one solution in which the cognitive dynamics runs through the objects of the attitudes. I discuss this solution and offer an alternative in which the theory of cognitive dynamics has no use for the objects of the attitudes to unify expressions of attitudes. When we say or believe “the same thing” using different modes of expressions, it is by virtue of our deploying a dynamic theory of attitude expression. Like Lewis Carrol’s Red Queen, we must run to stay in place. (shrink)

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia (...) Eaton, Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

‘...if you learn to think like Peter Cave – with freshness, humour, objectivity and penetration – you will have been amply rewarded.’ :::: Prof. Felipe Fernandez-Armesto, University of Notre Dame __________________ Chapter Titles:>>> ___ 1 Lao Tzu: The Way to Tao >>> 2 Sappho: Lover >>> 3 Zeno of Elea: Tortoise Backer, Parmenidean Helper >>> 4 Gadfly: aka ‘Socrates’ >>> 5 Plato: Charioteer, Magnificent Footnote Inspirer – ‘Nobody Does It Better’ >>> 6 Aristotle: Earth-Bound, Walking >>> 7 Epicurus: Gardener, (...) Curing the Soul, Ably Assisted by Lucretius >>> 8 Avicenna: Flying Man, Unifier >>> 9 Descartes: With Princess, With Queen >>> 10 Spinoza: God-Intoxicated Atheist >>> 11 Leibniz: Monad Man >>> 12 Bishop Berkeley, ‘That Paradoxical Irishman’: Immaterialist, Tar-Water Advocate >>> 13 David Hume: The Great Infidel or Le Bon David >>> 14 Kant: Duty Calls, Categorically >>> 15 Schopenhauer: Pessimism With Flute >>> 16 John Stuart Mill: Utility Man, With Harriet, Soul-Mate >>> 17 Søren Kierkegaard: Who? >>> 18 Karl Marx: Hegelian, Freedom-Fighter >>> 19 Lewis Carroll: Curiouser and Curiouser >>> 20 Nietzsche: God-Slaying Jester, Trans-Valuer >>>> 21 Bertrand Russell: Radical, Aristocrat >>> 22 G. E. Moore: Common-Sense Defender, Bloomsbury’s Sage >>> 23 Heidegger: Hyphenater >>> 24 Jean-Paul Sartre: Existentialist, Novelist, French >>> 25 Simone Weil: Refuser and Would-Be Rescuer >>> 26 Simone de Beauvoir: Situated, Protester, Feminist >>> 27 Ludwig Wittgenstein: Therapist >>> 28 Hannah Arendt: Controversialist, Journalist? >>> 29 Iris Murdoch: Attender >>> 30 Samuel Beckett: Not I >>>. (shrink)

Mayer, Caruso, and Salovey provide useful updates to the EI ability model and related concepts. However, they do not acknowledge conceptual limitations with the MSCEIT proportion scoring algorithm. In our view, failure to recognize these limitations has impeded refinements to the EI ability model and delayed support for positioning EI within the Cattell-Horn-Carroll three-stratum theory of intelligence. Fully appreciating algorithm-related issues justifies the reanalysis of MSCEIT data and may expand the range of metrics that are available to refine EI (...) theory. (shrink)

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia (...) Eaton, Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

The Blackwell Guide to Aesthetics is one of the most authoritative surveys of the central issues in contemporary aesthetics available. The volume features eighteen newly-commissioned essays on the evaluation of art, the interpretation of art, and forms of art such as literature, movies, dance, and music. Written in clear and accessible prose by an assembly of some of the most distinguished philosophers of art, these essays develop the themes, discuss the problems, and evaluate the arguments of the main topics in (...) the field. An excellent resource for students and scholars alike, this book provides a guide to the central, traditional questions as well as the cutting-edge issues in aesthetics today. The contributors are Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Muelder Eaton, Joseph Margolis, Berys Gaut, Nicholas Wolterstorff, Susan Feagin, Peter Lamarque, Stein Haugom Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald W. Crawford, Philip Alperson, Laurent Stern, and Amie L. Thomasson. (shrink)

Ways and words about infinity have frequently hidden a continuing paradox inspired by Zeno. The basic puzzle is the tortoise's – Mr T's – Extension Challenge, the challenge being how any extension, be it in time or space or both, moving or still, can yet be of an endless number of extensions. We identify a similarity with Mr T's Deduction Challenge, reported by Lewis Carroll, to the claim that a conclusion can be validly reached in finite steps. Rejecting common (...) solutions to both challenges, we use a Wittgensteinian approach for dissolution, noting also that other paradoxes, such as the Surprise Examination and Yablo's, trap us inconsistently into similar endlessnesses. In so doing, we encounter a hopping flea, generate a proportionality paradox and consider the knight's move in chess. (shrink)

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia (...) Eaton, Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

This paper responds to Saul Fisher’s critical note (in the current volume) on Peter Lamarque and Nigel Walter’s ‘The Application of Narrative to the Conservation of Historic Buildings’ (Estetika 1/2019). Walter restates the argument, underlining the context of ‘living' buildings whose identities are still in formation. He then responds to points raised by Fisher, commenting on persistence and identity, Noël Carroll’s views on narrative connection, the usefulness of Carroll's engagement with spatial relations, and addressing some of Fisher’s (...) specific challenges. Lamarque then comments, framing the central question as whether conservation work to a building preserves its character, integrity, and coherence, noting that these are core aspects of narrative, before concluding with some reflections on the application of metaphor, including the metaphorical personification of buildings. (shrink)

Some philosophers have tried to establish a connection between the normativity of instrumental rationality and the paradox presented by Lewis Carroll in his 1895 paper “What the Tortoise Said to Achilles.” I here examine and argue against accounts of this connection presented by Peter Railton and James Dreier before presenting my own account and discussing its implications for instrumentalism (the view that all there is to practical rationality is instrumental rationality). In my view, the potential for a (...) class='Hi'>Carroll-style regress just shows us that since instrumental rationality involves a higher-order commitment to combine our willing an end with our taking the necessary means, it therefore cannot, on pain of regress, itself be added as a conjunct to one of the elements to be combined. This view does not support instrumentalism. (shrink)

The purpose of this brief study is to ascertain Peter Lombard's understanding of what the Christian doctrine of creation means and his judgment about whether pagan philosophers were able to reach this doctrine through the light of natural reason. Lombard's views on creation set the foundation for thirteenth-century discussions of creation, since all the scholastic masters of Oxford and Paris commented on Lombard's 'Sentences' and thus recorded their agreement or disagreement with him. Lombard's views are of especial importance for (...) understanding Aquinas's teaching on creation, since Aquinas's first detailed discussion of creation takes place in his Sentences Commentary, bk II, d. 1, q. 1, in which he forcefully presents the essence of creation as demonstrable through philosophy, though knowable more perfectly through faith, and reinterprets the essential meaning of creation using Avicenna's metaphysics. My study thus complements the studies of Timothy Noone, Stephen Baldner, William Carroll, Mark Johnson, John F. Wippel, and Lawrence Dewan on how Aquinas's understanding of creation and of whether Plato and Aristotle taught the doctrine of creation differs from that of the immediate Latin scholastic tradition, though I will not be able to show here how Aquinas adapts some of Lombard's ideas and suggestions even as he moves quite far beyond them in metaphysical sophistication. Additionally, the medieval reception of Plato and Aristotle will be touched upon. (shrink)

This is a response to the debate between Peter Kivy and Noel Carroll over whether music qua music can induce emotions or moods. I critically examine Kivy’s arguments in light of work in the psychology and neuroscience of music and argue in support of Carroll that music can induce moods. I argue that Kivy’s notion of formalist ‘canonical listening’ is problematic, both as an argument against Carroll and as a claim about how we ought to listen (...) to music, and that Kivy may be begging the question against the arousalist both philosophically and neurologically. (shrink)

Peter Kivy and Noël Carroll advocate a narrow view of aesthetic experience according to which it consists mainly in attention to formal properties. Excluded are cognitive and moral properties. I defend the broader view that includes the latter properties. I argue first that cognition and moral assessment can be inseparable in experience from grasp of form and expressiveness. Second, Kivy and Carroll must extend the notion of form itself beyond ordinary usage to accommodate acknowledged aesthetic experience. Third, (...) the broad view has a more impressive historical lineage than the narrow view. Fourth, aesthetic experience is appreciation of aesthetic value, and the latter is more plausibly analyzed in a broad way. (shrink)

l Carroll, that there is no reason to think that an aesthetic theory of art cannot do justice to art in its relation to the extra-artistic world. My argument depends on a reinterpretation of the aesthetic theory of Francis Hutcheson, according to which Hutcheson does not hold aesthetic perception to be non-epistemic, as Peter Kivy has maintained.

Children’s literature was first published in the eighteenth century at a time when the philosophical ideas of Jean-Jacques Rousseau on education and childhood were being discussed. Ironically, however, the first generation of children’s literature (by Maria Edgeworth et al) was incongruous with Rousseau’s ideas since the works were didactic, constraining and demanded passive acceptance from their readers. This instigated a deficit or reductionist model to represent childhood and children’s literature as simple and uncomplicated and led to children’s literature being overlooked (...) and its contribution to philosophical discussions being undermined. Although Rousseau advocates freeing the child to develop, he does not feel that reading fiction promotes child development, which is a weakness in an otherwise strong argument for educational reform. Yet, rather ironically, the second generation of children’s writers, from Lewis Carroll onwards, more truly embraced Rousseau’s broader philosophical ideas on education and childhood than their predecessors, encouraging and freeing readers to imagine, reflect and actively engage in ontological enquiry. The emphasis had changed with the child being embraced in education and society as active participant rather than passive or disengaged recipient. Works deemed to be seminal to the canon of children’s literature such as Alice’s Adventures in Wonderland, Peter Pan and The Chronicles of Narnia challenge readers to work through conflicts many of which can be identified retrospectively as exhibiting postmodern characteristics. By exploring moral and spiritual dilemmas in their writing, Carroll, Barrie and Lewis’s works can be regarded as contributing to discussions on theodical postmodernism. The successes of The Lord of the Rings and Narnia films suggest that there is an interest in exploring moral dilemmas, fulfilling a need (perhaps for tolerance and understanding) in society at large. Children’s literature has an almost divine power to restore, to repair and to heal, all characteristics of theodical postmodernism but differing from the more widely held conception of postmodernism which pulls apart, exacerbates and exposes. Children’s literature therefore offers a healthy and constructive approach to working through moral dilemmas. In their deconstruction of childhood, these authors have brought children’s literature closer to aspects of enquiry traditionally found in the domain of adult mainstream literature. As the boundaries between childhood and adulthood become more fluid, less certain, debate is centring around whether the canon of children’s literature itself has become redundant or meaningless since there are no longer any restrictions on which subjects can be treated in children’s literature. Despite the fact that children’s literature clearly engages with difficult issues, it continues to be left out of the critical equation, not given serious attention, disregarded as simplistic and ignored in contemporary philosophical discussions concerning morality, postmodernism and the future of childhood. With children’s literature coming closer to mainstream literature, and exhibiting prominent features of postmodernism, however, it is only a matter of time before philosophical discussions actively engage with children’s literature and recognise its contribution to the resolution and reconciliation of ontological dilemmas. When this occurs, philosophy and children’s literature will re-engage, enriching contemporary investigations of existence, ethics and knowledge and fruitfully developing thought in these areas. This paper aims to contribute to this process. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Simulation, Subjective Knowledge, and the Cognitive Value of Literary NarrativeScott R. Stroud (bio)IntroductionLiterary narrative holds the power to move individuals to thought, reflection, action, and belief. According to a longstanding view of literature, it is this impact on the reader that leads to literary narrative being valued so highly in our culture and in others. What exactly is the value of literature? Humanists such as Peter Lamarque and (...) Stein Olsen1 argue for this value in terms of perennial themes that literature allows one to "grapple with," as opposed to cognitivist accounts that discuss the value of literary narrative in terms of conveyed truths or knowledge. One particularly important position that explains the cognitive value of literature can be labeled the "Subjective Knowledge Theory" (SKT). Such an account of literature places its value in the subjective perspectives or experiences the narrative opens up to the reader. Thus, one can gain knowledge of "what it is like" to be caught in the throes of jealousy, endangered by an opposing army, or captivated by the lure of magical prowess. Lamarque and Olsen, however, argue that SKT is fundamentally flawed in its analysis of knowledge derivable from the literary narrative and in terms of its account of literary practice.I wish to defend a version of SKT in this article. In order to do so, I make and defend the following claims. First, Lamarque and Olsen's critique of SKT relies on a conflation of two distinct types of knowledge—the knowledge provided by the simulated subjective experience and its appropriation/ generalization to forms useful for the reader's real life activities. I will argue that the former of these outcomes is due strictly to the aesthetic features of the literary narrative, whereas the second involves a non-necessary psychological reaction to the text (that is, judgments of the veracity or usefulness of the text for one's own purposes). By conflating both of these into the cognitive knowledge derivable from the text, Lamarque and Olsen's critique can [End Page 19] gain its purchase against SKT. If these two processes and the resultant sorts of knowledge are separated, then the SKT account does seem to show how literature holds value in itself and in relation to the reader's moral activities/ judgments. Second, the process of simulation is the primary means by which one can gain any type of subjective knowledge from a literary narrative. This type of knowledge will be gained by virtue of the literary narrative's aesthetic qualities, which result in a certain type of activity in the reader. Third, I will argue that the second sort of knowledge—that derived from the simulated subjective experience—results from the process of reader identification with the values, beliefs, and/or behaviors of the simulated agent. This sense of identification involves selective appropriation and generalization and will be shown not to be subject to the critiques of simple identification offered by Noël Carroll.2 It is at this stage that individuals learn what they believe they ought to value, how they ought to act, and what they should believe from their experience of simulation in reading the literary narrative. Notice that this knowledge is separate from the first sort of knowledge, which is knowledge of what it is like to experience x through y's eyes.As I elucidate and defend these claims, I hope it will become clear that this is an account that does justice to the value resident in literature and in the activities readers do after they partake in the aesthetic object of the literary narrative. Thus, I will conclude by showing how this account does not fall prey to the conflation that both critics and supporters of SKT commit in muddling the different types of knowledge available from and in relation to a literary narrative.Before I proceed, it is important that some basic concepts are clearly set forth. A narrative can be defined as any representation of two or more events over time. The number of events and the relationship among them can be as simple or complex as one likes, but the crucial aspect is that the representation supplies the... (shrink)