Central to Kuhn’s notion of incommensurability are the ideas of meaning variance and lexicon, and the impossibility of translation of terms across different theories. Such a notion of incommensurability is based on a particular understanding of what a scientific language is. In this paper we first attempt to understand this notion of scientific language in the context of incommensurability. We consider the consequences of the essential multisemiotic character of scientific theories and show how this leads to even a single theory (...) being potentially ‘internally incommensurable’. We then discuss Kuhn’s lexicon‐based approach to incommensurability and the problems associated with it. Finally we argue that this approach by Kuhn has interesting overlaps with the problem of meaning associated with multisemiosis, particularly the challenge of understanding the process of symbolization in scientific theories. (shrink)

The concept of avidyā or ignorance is central to the Advaita Vedāntic position of Śȧnkara. The post-Śaṅkara Advaitins wrote sub-commentaries on the original texts of Śaṅkara with the intention of strengthening his views. Over the passage of time the views of these sub-commentators of Śaṅkara came to be regarded as representing the doctrine of Advaita particularly with regard to the concept of avidyā. Swami Satchidanandendra Saraswati, a scholar-monk of Holenarsipur, challenged the accepted tradition through the publication of his work Mūlāvidyānirāsaḥ, (...) particularly with regard to the avidyādoctrine. It was his contention that the post-Śaṅkara commentators brought their own innovations particularly on the nature of avidyā. This was the idea of mūlāvidyā or ‘root ignorance’, a positive entity which is the material cause of the phenomenal world. Saraswati argues that such an idea of mūlāvidyā is not to be found in the bhāṣyas (commentaries) of Śaṅkara and is foisted upon Śaṅkara. This paper attempts to show that although Śaṅkara may not have explicitly favoured such a view of mūlāvidyā, his lack of clarity on the nature of avidyā left enough scope for the post-Śaṅkara commentators to take such a position on avidyā. (shrink)

Central to Kuhn's notion of incommensurability are the ideas of meaning variance and lexicon, and the impossibility of translation of terms across different theories. Such a notion of incommensurability is based on a particular understanding of what a scientific language is. In this paper we first attempt to understand this notion of scientific language in the context of incommensurability. We consider the consequences of the essential multisemiotic character of scientific theories and show how this leads to even a single theory (...) being potentially 'internally incommensurable'. We then discuss Kuhn's lexicon-based approach to incommensurability and the problems associated with it. Finally we argue that this approach by Kuhn has interesting overlaps with the problem of meaning associated with multisemiosis, particularly the challenge of understanding the process of symbolization in scientific theories. (shrink)

We discuss the structure of Buddhist theory, showing that it is a kind of moral phenomenology directed to the elimination of egoism through the elimination of a sense of self. We then ask whether being raised in a Buddhist culture in which the values of selflessness and the sense of non-self are so deeply embedded transforms one’s sense of who one is, one’s ethical attitudes and one’s attitude towards death, and in particular whether those transformations are consistent with the predictions (...) that Buddhist texts themselves make. We discover that the effects are often significant, but not always expected. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art's DetourA Clash of Aesthetic TheoriesS. K. Wertz (bio)Both John Dewey1 and Martin Heidegger2 thought that art's audience had to take a detour in order to appreciate or understand a work of art. They wrote about this around the same time (mid-1930s) and independently of one another, so this similar circumstance in the history of aesthetics is unusual since they come from very different philosophical traditions. What was it (...) about the climate of the times that led them to such an idea? Is it still viable today? Both philosophers thought that art's audience is not in a position to immediately appreciate works of art—that we are missing something for a direct appreciation or apprehension—so we must take a detour. Why the detours and what are they? Are the detours similar? And are Dewey and Heidegger right about this? The essay that unfolds below attempts to answer these questions.First a definition is in order so we know what the term "detour" means when I use it. What is a detour? It is a deviation from a direct course or the usual procedure; a roundabout way temporarily replacing part of a route; in other words, a bypass or a roundabout way to some destination. The Little Oxford Dictionary adds a different twist on my characterization: "a course that leaves and rejoins [the] direct route."3 Applying this idea to art, we can say that a detour describes an audience who ordinarily perceives an artwork is a legitimate beginning for an appreciation of it, but that course must be bypassed for another (conception) before it can rejoin the direct route (perception). In other words, perceptions in the aesthetic experience must be aided by conceptions—a decidedly Kantian stance taken by Dewey and Heidegger. Their illustrations make my interpretation plausible.One of Heidegger's examples is Van Gogh's painting of a pair of peasant boots.4 He selects this painting to illustrate his metaphysics, which centers around the notion of "equipment." Peasant boots are equipment in [End Page 100] the sense that they are worn or used; the mere thing (like shoes or boots in a store [exhibited] or a closet [in storage]) disappears in use and becomes equipment. Between equipment and mere things—these two categories of being—are artworks. They are pictorial representations of equipment (in Heidegger's illustration; a pair of shoes as mere things could be a pictorial representation, like an advertisement, but it wouldn't be the same). Through the painted boots, a world comes into focus—a network of meaning. The world Heidegger sees in the Van Gogh painting is captured in the following descriptions: "In the vicinity of the [art]work we were suddenly somewhere else than we usually tend to be…. The art work let us know what shoes are in truth" (ATCR 233). So the nature of art is still a question about the nature of representation for Heidegger: it is what the shoes disclose to us about human existence. As he says, it is not just merely a pair of shoes portrayed but shoes "from the dark opening of the worn insides … the toilsome tread of the worker stares forth" (ATCR 232). In other words, we see the difficult labor that this particular owner toiled with in her daily chores.In Tralbaut's book, he quotes Heidegger in a caption alongside the painting: "Engraving in the intimate obscurity of the hollow of a boot is the weariness of the steps of work. The rough and solid weight of the clog tells of the slow and obstinate trudge across the fields."5 Heidegger continues in the same vein:In the stiffly rugged heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field swept by a raw wind. On the leather lie the dampness and richness of the soil. Under the soles slides the loneliness of the field-path as evening falls. In the shoes vibrates the silent call of the earth, its quiet gift of the ripening grain and its unexplained self-refusal in the fallow desolation of... (shrink)

THIS ESSAY DEALS WITH D F NORTON’S INTERPRETATION OF HUME’S METHODOLOGY IN THE LATTER’S FAMOUS DISCUSSION OF MIRACLES IN THE FIRST INQUIRY. NORTON CONSTRUES "EXPERIENCE" TO MEAN PERSONAL, INDIVIDUAL EXPERIENCE. THE AUTHOR SHOWS THAT THERE IS ANOTHER SENSE OF THE WORD WHICH IS MORE COSMOPOLITAN AND ONE WHICH SQUARES MORE WITH THE USES OF EVIDENCE FOUND IN THE "HISTORY OF ENGLAND". ALTERNATIVE INTERPRETATIONS OF THE HUME PASSAGE ARE GIVEN AND HUME’S METHOD IS COMPARED WITH R G COLLINGWOOD’S IMAGINATIVE RECONSTRUCTIONIST IDEA (...) OF HISTORY. (shrink)

The novel Doctor Zhivago has not received the attention it has deserved lately—even much less for its philosophical ideas—so in this essay I want to bring attention to Boris Pasternak's notion of the nature of consciousness, which I find quite interesting. Yurii Zhivago, one of the principal characters in Doctor Zhivago, says the following about the experience of death: Will you [Anna Ivanovona] feel pain? Do the tissues feel their disintegration? In other words, what will happen to your consciousness? But (...) what is consciousness? Let's see. A conscious attempt to fall asleep is sure to produce insomnia, to try to... (shrink)

A summary view of the main evidence at our disposal may be soon obtained. Three traditions appear at the outset. The first depends on a MS. once at Mainz, and now no longer extant, but of which part, at any rate, still existed in the sixteenth century; the second on an eleventh century MS. at Bamberg; and the third on a number of later MSS. in Rome, Florence, Paris, the British Museum, Oxford, Holkham, and other places. The fact that these (...) three traditions must be regarded as separate may be seen first from the parts of the decade which they each omit. (shrink)

Written from the perspective of philosophy of liberation, this essay holds that the reform of basic human relationships and their cultural instantiation(s) is central to all serious societal change. The essay analyzes naive, mythological, and critical consciousness. It examines how these modes of consciousness are embodied in the health delivery system and then describes areas where practitioners and patients of critical consciousness might work for greater humanization of health care.

Jean-François Revel is the first philosopher to take food seriously and to offer a topology for food practices. He draws a distinction between different kinds of cuisine -- popular (regional) cuisine and erudite (professional) cuisine. With this distinction, he traces the evolution of food practices from the ancient Greeks and Romans, down through the Middle Ages, and into the Renaissance and the Modern Period. His contribution has been acknowledged by Deane Curtin who offers an interpretation of Revel’s conceptual scheme along (...) Platonic lines. In this essay the author reviews Curtin’s interpretation, finds it wanting in certain respects, and develops an alternative reading of Revel along Hegelian lines. This interpretation, the author believes, does greater justice to Revel’s topology for food practices. (shrink)

The persons who adapt to changes as may be necessary in the course of their existence not only survive in the struggle for existence but also thrive and enjoy their lives in the best possible way under the given circumstances. For, life consists in various relationships, which are in constant movement and change.Therefore dealing with change or change-management has got pivotal importance in all walks of humans’ lives. In order to facilitate smooth change all big and small inheritances have to (...) be shed off. Adaptation to change involves some amount of give and take. Before stepping into new shoes one has to remove old ones. Sticking to good or bad things of the past in some cases spoils the present. One should, therefore, be in a position to come out of the situation of status quoor inertia. In some cases our ego does not allow us to change. It forces us to remain in the state that we have been enjoying hitherto. If we are untouched by sense of exuberance and live a life of simplicity, we can break the fetters of ego. The crux of the problem lies in affecting the change of attitude towards the present state of affairs and performance of corresponding duty. The persons should realize that change in power, position, strength etc. is inevitable. So,they should be mentally and physically prepared for it. This can be conveniently achieved by developing adaptability to and management of change. (shrink)

I examine Nagarjuna’s averting an opponent’s argument, Paul Sagal’s general interpretation of Nagarjuna and especially Sagal’s conception of "averting" an argument. Following Matilal, a distinction is drawn between locutionary negation and illocationary negation in order to avoid errant interpretations of verse 29 The argument is treated as representing an ampliative or inductive inference rather than a deductive one. As Nagarjuna says in verse 30: "That [denial] of mine [in verse 29] is a non-apprehension of non-things" and non-apprehension is the averting (...) of arguments or "the relinquishing of all views." "Not making a proposition P" would be not speaking P or silence with regard to P and, as Sagal argues, not meaning a global linguistic silence. Such an interpretation would lead to attributing wholesale irrationalism to Nagarjuna-something I wish to avoid. (shrink)

We eat not only because it is necessary for us to, but also and much more because eating gives us pleasure.In this essay, I develop a case for G. W. Leibniz as our first modern food philosopher. It is in his theory of perception and in his culinary examples that I find the most convincing evidence, especially when I contrast them with Locke and Hume’s account of perception with reference to food. In the process, Leibniz expanded aesthetic perception to include (...) nature and food. He did not draw a distinction between ordinary or regular perception and aesthetic perception; perceiving smells and tastes are similar to perceiving colors—both have structures,2 but more on.. (shrink)

The phrase “the end of art” has a long association with Arthur C. Danto.1 Indeed, Danto popularized the idea and offered an explanation of this puzzling notion. How could there have been an end of art when it has robustly continued? For this question to make sense, the meaning of “end” is not in the sense of termination, finality, or death in a literal, physical sense. So in 1912 when Marius de Zayas pronounced “art is dead,” he must have thought (...) the historical circumstances warranted it and found the metaphor illuminating: “[Art’s] present movements are not at all indications of vitality; they are not even the convulsions of agony prior to death; they are the mechanical reflex actions of a corpse.”2 In less .. (shrink)

It has long been claimed and supposedly substantiated that there exists an association of ideas, but not of perceptions (that is, sensations or impressions). Collingwood echoed this claim from Hume, but Hume later in the Treatise produced an association of impressions (actually emotions and passions), so he came close to Hobbes’s position: human physiology has “trains of sense” and these are carried on in human thought—what we call “ideas” (he called “decaying sense”). A strong case can be made for this (...) claim when we examine the phenomenon of food. Concerning food, I explore Chinese cuisine and more recently Kunz and Kaminsky’s The Elements of Taste for examples that provide substantiation of the association of perceptions. This proves to be a rewarding way to look at the phenomenon of food and leads us to re-examine traditional theories of perception. (shrink)

Different analyses of two-wrongs reasoning are presented and provide relief for the Groarke, Tindale, and Fisher analysis which is suggestive of the origin of this type of reasoning in Bentham and Mill. Aquinas's doctrine of double effect is entertained as a possible counterexample (which it is not). Two-wrongs reasoning can be either acceptable (reasonable) or unacceptable, and there are conditions that can be laid down for both situations in discourse. A negative version of the utilitarian principle assists us in understanding (...) two-wrongs reasoning in moral contexts. (shrink)