Brings together articles that influenced the scholarly work of Ralph McInerny.

This historical compendium investigates scientific methods conceived between the Renaissance and the nineteenth century. Beginning with attacks on Scholasticism and the rist of the New Science, the authors explain the roles of both major andminor figures in describing scientific methods. Although the chapters are interrelated and contain explicit comparisons, each chapter is a complete study in itself. The authors' emphasis on writing for the non-specialist and their liberal use of primary sources make this an outstanding textbook.

In lieu of an abstract, here is a brief excerpt of the content:Hope Draped in Black: Decolonizing Utopian StudiesCaroline Edwards (bio)What does utopian studies have to learn from critical race theory, Black studies, and ideas of Black futurity? While utopian scholars have begun unpicking the colonial entanglements of utopianism’s origins (particularly as a literary genre grounded in pelagic crossings to the New World that have advocated slavery, extractivism, and eugenics to name a few notable examples across the utopian canon), (...) few, if any, have incorporated the perspectives, aesthetics, and theoretical work of Black scholars themselves.1 The following are a few brief remarks organized around keywords (in a nod to Raymond Williams, a fierce advocate of utopian thinking) that attempt to sketch an answer to these questions, with a focus on my own area of utopian study: utopian literary and cultural production in the contemporary period.ProgressWe might start by considering the literary utopia’s most prolific period, from roughly 1880 to 1915. In a deluge of utopian narratives, many of them penned by amateur writers, we find the emergence of a genre that is thoroughly [End Page 498] rooted in industrialized progress. Whatever their perspective on capitalism and waged labor, these works privilege advanced industrialization as the primary means to eliminate poverty and disease, thereby liberating workers into automated futures of post-scarcity abundance. Examples include Edward Bellamy’s highly rationalized system of pneumatic delivery (Looking Backward: 2000–1887 [1888]), Mary E. Bradley Lane’s chemical production of food from waste products (Mizora: A World of Women [1890] 1999), H. G. Wells’s titanic hydro-powered engineering (Men Like Gods [1923]), Edward Bulwer Lytton’s lithic limitless energy, Vril (The Coming Race [1871]), or the ubiquitous electricity that powers Elizabeth Burgoyne Corbett’s clean city (New Amazonia: A Foretaste of the Future [1899] 2011), Alice Ilgenfritz Jones and Ella Marchant’s advanced Martian society (Unveiling a Parallel: A Romance [1893]), and Alexander Bogdanov’s advanced scientific culture on the red planet (Красная звезда [Red Star (1908) 1984]). Indeed, many notable dystopian novels begin with the same premise of highly automated societies that focus, rather, on the awfulness of life without purpose (Anna Bowman Dodd’s The Republic of the Future; Or, Socialism a Reality [1887], E. M. Forster’s “The Machine Stops” [1909], Kurt Vonnegut’s Player Piano [1952]). While they are far from uncritical of the telos of historical progress (most of the works highlight the class and gender inequalities of their own time), utopian novels in this period tend to view the utopian process as one of harnessing historical progress in a more equitable direction; they rarely question the Hegelian premise that history moves through contradictory forces in a dialectical series of stages.In his 2016 book Hope Draped in Black, Joseph R. Winters explores the lasting damage that ideas of historical progress have wrought on Black writers, artists, and thinkers. While notions of racial uplift are loaded with a linear narrative of Black progress such conceptions, he writes, “are mediated by melancholy, loss, and a recalcitrant sense of tragedy” (6–7). Building on Adorno and Horkheimer’s landmark critique in Dialectic of Enlightenment (1944) as well as the works of W. E. B. Du Bois, Winters notes thatmodern notions of progress and freedom are inherently flawed and problematic because they rely on and are intertwined with practices and conditions—capitalism, colonial expansion, racial hierarchies, endeavors, and incentives to usurp and possess that earth—that are harmful to non-Europeans, working-class bodies, women, and other groups.(2016, 8) [End Page 499]Examining the relationship between melancholy and hope in Black literary and aesthetic traditions, Winters explores how writers such as Toni Morrison and Ralph Ellison incorporate jazz into their works, using its discordant, improvisational structures to imagine time out of joint (the Derridean deferral of justice announced by the arrival of the specter of old King Hamlet, who returns) (Derrida 1994). Here, Winters writes, “the past can always haunt and disturb the present [so that] the present is always a site of potential breaks and ruptures that can signify both dislocation and pain as well as novelty and possibility” (2016, 25). If we are to contemplate the almost overwhelming task of decolonizing utopian studies, then... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Which Henry James Strikes BedrockRalph M. BerryIn Stanley Cavell’s account of Wittgenstein’s later philosophy, everything we know depends upon what Wittgenstein calls grammatical criteria. These criteria are what we go on when judging that something counts as an instance of our concept of a “chair,” “ardent love,” “headache,” etc. For the arts, Wittgenstein’s focus on criteria leads in two, apparently opposite, directions. First, by making the activity of (...) judging constitutive for language and culture, Wittgenstein makes aesthetics (or what is traditionally called aesthetics) a model for all philosophical activity. Determining the basis on which a phenomenon will count as an instance of any concept turns out to involve capacities that formerly seemed relevant only in cases of aesthetic judgment.But Wittgenstein’s focus on criteria also works against this centrality of aesthetics, for it makes an exceptional or limiting case of the art contemporary with Wittgenstein. According to Cavell, what modernist art reveals is that judging what counts as a novel, painting, sculpture, etc., is no longer determined by grammatical criteria, or none to which we have access as we do our criteria for “chair,” “ardent love,” “headache,” etc. This does not mean, or not quite, that nobody knows any longer what a novel is. It comes closer to meaning that the experience of modern art is of finding out what we know, what our criteria for sculptures, paintings, novels are. And it makes modernism the disclosure of a new artistic necessity: not merely to create a new work, but to create a new basis for work, a new medium for fiction. 1In what follows my aim is to see how this necessity arises. My focus is on a particular period of Henry James’s career, roughly from his review of Eliot’s Middlemarch in 1873 to his essay on Maupassant in 1888, a [End Page 61] period that surrounds his now famous response to Walter Besant in “The Art of Fiction.” I do not insist that this moment in James’s career is a founding moment for modernist fiction. My only insistence is that, whatever conditions do give rise to modernism—either for a whole culture or for an individual—they look like this moment.INear the end of “The Art of Fiction,” Henry James takes issue with Walter Besant (and the critic Andrew Lang) over the use of the word “story.” 2 His stated provocations are, first, that Besant (in his lecture) has distinguished between “a part of a novel which is the story and part of it which... is not” (“AF,” p. 178) and, second, that Besant and Lang (in his review of Besant’s lecture) have made “adventure” a defining feature of any story (p. 179). James’s procedure in the first case is to give examples of “the only [sense of ‘story’] that I see” in which it can be spoken of as different from the novel as a whole. His procedure in the second case is to give examples of what constitutes an adventure “for me” (or what “I should say” is an adventure) and to confess that he is “utterly at a loss to see why” the plot of his own novella “An International Episode” does not count as an adventure if the other examples cited by Lang and Besant do. James gives no reasons why anyone ought to use the words “story” and “adventure” as he does. If we see senses of “story” other than the ones that James sees, if the fact that he is “utterly at a loss” makes no impression on us, or if we just do not care what Henry James considers adventurous, nothing he says seems designed to change our minds. His whole case rests on nothing stronger than the likelihood that, in the circumstances he describes, we too will call or judge or find what he calls/judges/finds “a story,” “an adventure,” “exciting,” etc. If we don’t, of course, we just don’t, but the surprise is how often we do. 3Contrary to what James maintains, the problem with Besant and Lang’s definition of “story” is not that it is “altogether arbitrary” (p. 179... (shrink)

Euboulos' 'αγκελων is represented by only four fragments , all culled from Athenaeus, which tell us nothing about the plot of the play or about the identity of its titular character. R. L. Hunter, in his recent commentary on Euboulos, discusses at length the name 'αγκελων and concludes that it could belong to either a humble and poor man; ‘a character from folklore notorious for sexual relations with his mother’ ; or ’ a wily slave such as those foreshadowed in (...) Aristophanes and familiar from New Comedy'. In view of our ignorance of the play's plot, each of these possibilities has an equal claim to our consideration. I believe, however, that the context in which the fragments are embedded in Athenaeus allows us to refine our understanding of the name even further. (shrink)

Among the many textual difficulties that beset Ovid's Ibis are two passages that allude, in an oblique fashion typical of the whole poem, to the iambographer Hipponax: et quae Pytheides fecit de fratre Medusae, eveniant capiti vota sinistra tuo, utque parum stabili qui carmine laesit Athenin, invisus pereas deficiente cibo.

Comparative risk assessment is playing an ever-increasing role in environmental policy priority setting, as manifested in national and numerous subnational comparative risk projects. It is widely accepted that public values, interests, and concerns should play an important role in CRA. However, the philosophical basis for public involvement in CRA has not been adequately explored, nor have comparative risk projects always made explicit their rationales for public involvement. The author examines the political, normative, and epistemic rationales for public involvement and explores (...) the case for public involvement in the making of ethical, valuation, and evidentiary judgments. The author considers key issues each rationale raises, problems eachfaces, and some of the implications of each for specific aspects of CRA. (shrink)