In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet (...) bells with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet (...) bells with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Most disciplines make use of thought experiments, but physics and philosophy lead the pack with heavy dependence upon them. Often this is for conceptual clarification, but occasionally they provide real theoretical advances. In spite of their importance, however, thought experirnents have received rather little attention as a topic in their own right until recently. The situation has improved in the past few years, but a mere generation ago the entire published literature on thought experiments could have been mastered in (...) a long weekend. Now the subject is beginning to flourish. Given the relative newness of the field, it might be useful to have several examples at one’s finger tips, so a number of great ones will be described. Attention will also be drawn outside physics and philosophy. In mathematics there is something analogous to thought experiments -- visual reasoning and picture proofs. I will look briefly at this class of thought experiments and try using them to make a case for possibly settling the continuum hypothesis. After this, I will return to thought experiments in the sciences and propose an account of how they work. Finally, I will end with a sketch of a topic I am currently working on, a kind of progress report which, I hope, will be an inducement to others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bookmarks Raman Selden's A Reader's Guide to Contemporary Literary Theory is now published in the United States by the University Press of Kentucky ($17.00 cloth, $7.00 paper). It is a discerning introduction for students (and anyone else) to the current state of "theory"—a word which in this context seems for the present to have lost its neutral sense. Given the tendentious climate of literary studies, Selden's book is all (...) the more remarkable for its sober, equable attitude. Whether he is describing Russian formalism, Lacan, the Frankfurt School, reader-response theory, or Gerald Prince's "narratee," he is always a fair guide, generous without descending to the breathlessness "theory" so often incites. While I miss a detailed or persuasive account ofArnoldian, New Critical, or Leavisite criticism to serve as a foil for his discussion of poststructuralism, Seiden does nevertheless usually give some idea of what or who the enemy is for each of his theorists. Selden's quotations are well chosen, and he is adroit in elucidating the internal problems of theories, as, for example, when he says that Cixous's approach runs the risk of "driving women into an obscure unconscious retreat where silence reigns interrupted only by uterine 'babble.' " This is a danger, according to Seiden, well understood by Kristeva, who views women writers as "caught." He makes the point by citing Kristeva. "On the one hand," he says, "as writers they inevitably collude with [what Kristeva describes as] 'phallic dominance, associated with the privileged father-daughter relationship, which gives rise to the tendency towards mastery, science, philosophy, professorships, etc....' " On the other hand, Kristeva continues, "we flee everything considered 'phallic' to find refuge in the valorisation of the silent underwater body, thus abdicating any entry into history." Raman Seiden does not attempt to dazzle, but there is substance for thought on almost every one of the 146 pages in his book. Far weightier are two literary theory anthologies which have come our way. Hazard Adams and Leroy Searle have edited Critical Theory Since 1965 (Florida State University Press, $29.95 paper). It resembles a telephone book and widi two-column pages it packs a lot in. The book begins with Stanley Cavell's 325 326Philosophy and Literature splendid essay "Aesthetic Problems of Modern Philosophy," and continues with Chomsky, John Searle, Kermode, Derrida and his American followers, Ingarden, Foucault,Jauss, Frye (a figure Seiden has chosen to ignore), Girard, Cixous and various feminists, Culler, Abrams—and on it goes. It was a pleasant surprise to find Clifford Geertz's "Blurred Genres" here; curiously missing is any contribution from Richard Rorty. And though the tide says the material starts in '65, Adams and Searle actually take us back farther. The main text ends with Said on page 622, but we are dien given a 233-page appendix—an anthology in itself—which begins with Frege and Peirce and goes through selections from various linguists and philosophers from Saussure, Bakhtin, and Whorf, to Heidegger on Hölderlin, Wittgenstein, Gadamer, and Lacan. Adams and Searle have contributed good introductions for each author, as well as a wide-ranging general introduction (Adams) and an afterword (Searle). In the last paragraph of his opening remarks, Adams says, "The theme of poststructuralism in its deconstructive phase is that poems resist interpretation. Demonstration of how this is so has been important (though not as new as some have thought), but repeated demonstration of this has already eventuated in its own form of reduction and thematization. Every text submitted to deconstruction considered as a critical method will yield the same theme, which may be true enough but remains only that story: the allegory of uninterpretability. It quickly becomes a repetition of the older formalist discovery that every text is about itself. It is no wonder that there has been a stirring—not so much a resistance to deconstruction (there has been that too, of course)—that expresses a desire to go beyond it. There has even been the idea of returning to Kant and trying again." Critical Theory Since 1965 is a big, useful book. On the somewhat more trim and basic side is Twentieth-Century Literary Theory: An Introductory Anthology... (shrink)

Newton's bucket, Einstein's elevator, Schrödinger's cat – these are some of the best-known examples of thought experiments in the natural sciences. But what function do these experiments perform? Are they really experiments at all? Can they help us gain a greater understanding of the natural world? How is it possible that we can learn new things just by thinking? In this revised and updated new edition of his classic text _The Laboratory of the Mind_, James Robert Brown continues to (...) defend apriorism in the physical world. This edition features two new chapters, one on “counter thought experiments” and another on the development of inertial motion. With plenty of illustrations and updated coverage of the debate between Platonic rationalism and classic empiricism, this is a lively and engaging contribution to the field of philosophy of science. (shrink)

Wendy Brown's work commands widespread attention and respect, and there has been considerable interest as to how it would develop after "States of Injury." This book will not disappoint.

"The doctrine of materialism is one of the perennial and most controversial ideas in the arts and sciences. Throughout history it has aroused strong passions, and in the Sixteenth and Twentieth centuries was a doctrine over which people were persecuted and killed. Yet it has been equally aligned with empirical, enlightened and tolerant thinking. This book explores the fascinating and important philosophy of materialism in an engaging and thought-provoking way. Opening with an overview of the ideas of some of the (...) most important materialists, including Lucretius, Epicurus, Hobbes and Hume up to Darwin and Marx, Brown and Ladyman show how materialism's origins were twofold: it was an early form of scientific explanation but also an intellectual outlook, or belief-system, about the world in general. They then explain how materialism's beginnings as imaginative vision of the true nature of things faced a major challenge from modern physics, in the form of quantum theory and the general theory of relativity. This posed major questions for materialism: how could it be reconciled with unobservable entities and new discoveries about the nature of space and time? As the authors show, out of this challenge materialism did not die but re-emerged - as the new doctrine of physicalism. Drawing on colourful examples throughout - from modern physics, the nature of the mind, and atheism - the authors argue that whilst materialism may not have all the answers, its humanism and staunch belief in observation, evidence and experiment remains our best hope in a fragmented and hyper-specialised world"--. (shrink)

ABSTRACT:The purpose of this article is to review literature that is relevant to the social scientific study of ethics and leadership, as well as outline areas for future study. We first discuss ethical leadership and then draw from emerging research on “dark side” organizational behavior to widen the boundaries of the review to includeunethical leadership. Next, three emerging trends within the organizational behavior literature are proposed for a leadership and ethics research agenda: 1) emotions, 2) fit/congruence, and 3) identity/identification. We (...) believe each shows promise in extending current thinking. The review closes with discussion of important issues that are relevant to the advancement of research on leadership and ethics. (shrink)

In a new interpretation, Garrett Wallace Brown considers Kant's cosmopolitan thought as a form of international constitutional jurisprudence that requires minimal legal demands. He explores and defends topics such as cosmopolitan law, cosmopolitan right, the laws of hospitality, a Kantian federation of states, a cosmopolitan epistemology of culture and a possible normative basis for a Kantian form of global distributive justice.

Twenty-first-century philosophy has been drawn into a false opposition between speculation and critique. Nathan Brown shows that the key to overcoming this antinomy is a re-engagement with the relation between rationalism and empiricism. If Kant’s transcendental philosophy attempted to displace the opposing priorities of those orientations, any speculative critique of Kant will have to re-open and consider anew the conflict and complementarity of reason and experience. Rationalist Empiricism shows that the capacity of reason and experience to extend and yet (...) delimit each other has always been at the core of philosophy and science. Coordinating their discrepant powers, Brown argues, is what enables speculation to move forward in concert with critique. Sweeping across ancient, modern, and contemporary philosophy, as well as political theory, science, and art, Brown engages with such major thinkers as Plato, Descartes, Hume, Hegel, Marx, Heidegger, Bachelard, Althusser, Badiou, and Meillassoux. He also shows how the concepts he develops illuminate recent projects in the science of measurement and experimental digital photography. With conceptual originality and argumentative precision, Rationalist Empiricism reconfigures the history and the future of philosophy, politics, and aesthetics. (shrink)

'Is politics gendered? Wendy Brown things so, and argues for this point with elegance, imagination and pungent phrases. Brown's book is challenging, provocative and...original; it does force us to question the degree to which gender controls our politics.'-THE REVIEW OF POLITICS.

This paper reports the introduction of electronic handsets, like those used on the television show 'Who Wants To Be A Millionaire?' into the teaching of philosophical logic. Logic lectures can provide quite a formidable challenge for many students, occasionally to the point of making them ill. Our rationale for introducing handsets was threefold: to get the students thinking and talking about the subject in a public environment; to make them feel secure enough to answer questions in the lectures because the (...) system enabled them to do this anonymously; and to build their confidence about their learning by their being able to see how they were progressing in relation to the rest of the students in the class. We have achieved all of these and more. Our experience has revealed that the use of handsets encourages a more dynamic form of student interaction in an environment - the lecture - that can, in the wrong hands, be utterly enervating, but they also provide an opportunity for the lecturer to respond to students' difficulties at the time when they really matter. In this paper, we discuss our case of rapid adoption, our grounds for judging it a success, and what that success seems to have depended on. (shrink)

David Brown argues for the importance of experience of God as mediated through place in all its variety. He explores the various ways in which such experiences once formed an essential element in making religion integral to human life, and argues for their reinstatement at the centre of theological discussions about the existence of God. In effect, the discussion continues the theme of Brown's two much-praised earlier volumes, Tradition and Imagination and Discipleship and Imagination, in its advocacy of (...) the need for Christian theology to take much more seriously its relationship with the various wider cultures in which it has been set. In its challenge to conventional philosophy of religion, the book will be of interest to theologians and philosophers, and also to historians of art and culture generally. (shrink)

Contextualists support their view by appeal to cases which show that whether an attribution of knowledge seems correct depends on attributor factors. Contextualists conclude that the truth-conditions of knowledge attributions depend on the attributor's context. Invariantists respond that these cases show only that the warranted assertability-conditions of knowledge attributions depend on the attributor's context. I examine DeRose's recent argument against the possibility of such an invariantist response, an argument which appeals to the knowledge account of assertion and the context-sensitivity of (...) assertion. I argue that DeRose's new argument does not rule out either of the two forms of invariantism, classic and subject-sensitive invariantism. Further, I argue against DeRose that an invariantist can explain the context-sensitivity of assertion. (shrink)

In American Heat, Donald Brown critically analyzes the U.S. response to global warming, inviting readers to examine the implicit morality of the U.S position, and ultimately to help lead the world toward an equitable sharing of the burdens and benefits of protecting the global environment. In short, Brown argues that an ethical focus on global environmental matters is the key to achieving a globally acceptable solution.

The shape of a life hypothesis holds that the temporal sequence of good or bad times in a life can itself be a valuable feature of that life. This is generally thought to be incompatible with additivism about lifetime well-being, which holds that lifetime well-being is fully determined by momentary well-being. This discussion examines Dale Dorsey’s recent argument that these views are in fact compatible. I argue that accepting the conjunction of these views requires stronger commitments than Dorsey recognizes. After (...) arguing that these commitments are problematic, I conclude that we should reject the compatibility claim. (shrink)

When a handful of people thrive while whole industries implode and millions suffer, it is clear that something is wrong with our economy. The wealth of the few is disconnected from the misery of the many. In Civilizing the Economy, Marvin Brown traces the origin of this economics of dissociation to early capitalism, showing how this is illustrated in Adam Smith's denial of the central role of slavery in wealth creation. In place of the Smithian economics of property, (...) class='Hi'>Brown proposes that we turn to the original meaning of economics as household management. He presents a new framework for the global economy that reframes its purpose as the making of provisions instead of the accumulation of property. This bold new vision establishes the civic sphere as the platform for organizing an inclusive economy and as a way to move toward a more just and sustainable world. (shrink)

Aristotle's account of external goods in Nicomachean Ethics I 8-12 is often thought to amend his narrow claim that happiness is virtuous activity. I argue, to the contrary, that on Aristotle's account, external goods are necessary for happiness only because they are necessary for virtuous activity. My case innovates in three main respects: I offer a new map of EN I 8-12; I identify two mechanisms to explain why virtuous activity requires external goods, including a psychological need for external goods; (...) and I show the relevance of Aristotle's distinction between wishing and choosing. On the view I attribute to Aristotle, our capacity to choose virtuously requires, first, that we wish for external goods (because virtue requires the right attitudes of evaluation) and, second, that these wishes are generally fulfilled (because the social consequences and psychological pain of unfulfilled wishes undermine our opportunity to act virtuously and to take pleasure in acting virtuously). I close with discussion of how Aristotelians should defend this approach. (shrink)

What if we looked at the notion of the end of literature as a truism, only lacking in plurality and logical rigor? Nicholas Brown explains that one of these “ends” can be regarded as internal to the functioning of literature itself, and as such, the point of departure for a more complete formulation of a Marxist literary criticism. For Brown, this formulation reveals that both literary criticism and Marxism are to be regarded as what he calls “formal materialisms,” (...) a mode of analysis that must be completed and revised every time in light of an object it cannot posit beforehand. What this means for a Marxist literary-critical project subsequently becomes all the more apparent in Brown’s reading of another end of literature – postmodernism. (shrink)

In The Death of Human Capital?, Phillip Brown, Hugh Lauder, and Sin Yi Cheung demonstrate that the human capital story is one of a failed revolution that requires an alternative approach to education, jobs, and income inequalities. Rather than abandoning human capital theory, the authors seek to redefine it in a way that more accurately addresses today's challenges presented by global competition, new technologies, economic inequalities, and national debt.

hroughout medieval Christianity, religious works of art emerged to illustrate the teachings of the Bible for the largely illiterate population. What, then, is the significance of the psychoactive mushrooms hiding in plain sight in the artwork and icons of many European and Middle-Eastern churches? Does Christianity have a psychedelic history? -/- Providing stunning visual evidence from their anthropological journey throughout Europe and the Middle East, including visits to Roslyn Chapel and Chartres Cathedral, authors Julie and Jerry Brown document the (...) role of visionary plants in Christianity. They retrace the pioneering research of R. Gordon Wasson, the famous “sacred mushroom seeker,” on psychedelics in ancient Greece and India, and among the present-day reindeer herders of Siberia and the Mazatecs of Mexico. Challenging Wasson’s legacy, the authors reveal his secret relationship with the Vatican that led to Wasson’s refusal to pursue his hallucinogen theory into the hallowed halls of Christianity. -/- Examining the Bible and the Gnostic Gospels, the authors provide scriptural support to show that sacred mushrooms were the inspiration for Jesus’ revelation of the Kingdom of Heaven and that he was initiated into these mystical practices in Egypt during the Missing Years. They contend that the Trees of Knowledge and of Immortality in Eden were sacred mushrooms. -/- Uncovering the role played by visionary plants in the origins of Judeo-Christianity, the authors invite us to rethink what we know about the life of Jesus and to consider a controversial theory that challenges us to explore these sacred pathways to the divine. (shrink)

Here lies the vocation of those who preserve our understanding of past theories, who sharpen our sense of the subtle, complex interplay between political experience and thought, and who preserve our memory of the agonizing efforts of intellect to restate the possibilities and threats posed by political dilemmas of the past. —Sheldon S. Wolin, “Political Theory as a Vocation”In the same way in which the great transformation of the first industrial revolution destroyed the social and political structures as well as (...) the legal categories of the ancien regime, terms such as sovereignty, right, nation, people, democracy, and general will by now refer to a reality that no longer has anything to do with what these concepts used to designate—and those who continue to use these concepts uncritically literally do not know what they are talking about. —Giorgio Agamben, Means without Ends: Notes on PoliticsLooking obliquely at the edges of things, where they come together with other things, can tell you as much about them, often, as can looking at them directly, intently, straight on. —Clifford Geertz, “The Near East in the Far East”. (shrink)

We dispute Penn et al.'s claim of the sharp functional discontinuity between humans and nonhumans with evidence in bottlenose dolphins (Tursiops truncatus) of higher-order generalizations: spontaneous integration of previously learned rules and concepts in response to novel stimuli. We propose that species-general explanations that are in approach are more plausible than Penn et al.'s innatist approach of a genetically prespecified supermodule.

David Brown explores the ways in which the symbolic associations of the body and what we do with it have helped shape religious experience and continue to do so. A Church narrowly focused on Christ's body wracked in pain needs to be reminded that the body as beautiful and sexual has also played a crucial role not only in other religions but also in the history of Christianity itself. Dance was one way in which the connection was expressed. The (...) irony is not that such a connection has gone but that it now exists almost wholly outside the Church. Much the same could be said about music more generally, and Brown writes excitingly about the spiritual potential of not just classical music but also pop, jazz, musicals, and opera. Like Brown's much-praised earlier volumes, God and Enchantment of Place, Tradition and Imagination, and Discipleship and Imagination, the present book will enlarge horizons and challenge the narrowness of much theological thinking. (shrink)

Descartes’s uncompromising rejection of the possibility of animal intelligence was among his most controversial theses. That rejection is based on (1) his commitment to the doctrine of animal automatism and (2) two tests that he takes to be sufficient indicators of thought (the action and language tests). Of these two tests, only the language test is truly definitive, and Descartes is firmly of the view that no animal could demonstrate the capacity to use signs to convey meaning in “all the (...) circumstances of life.” The topic is fascinating for forcing us to ponder what exactly reason is for Descartes and the role it plays in everyday life. This article explores the tensions in Descartes’s arguments produced by an over reliance on the analogy between animals and clocks, including the question of what to make of Descartes’s recognition of the need to posit representational and information-processing subsystems in the brain. (shrink)

The issue of whether biological and psychological properties associated with disability can be harmful, beneficial, or neutral brings up an important philosophical question about how we evaluate disability, and disability’s impact on well-being. The debate is usually characterized as between those who argue disability is intrinsically harmful, and disability rights advocates who argue that disability is just another way of being different, in part, because disability can also provide important benefits. I argue that this debate is a false one, as (...) neither view can capture the more complicated relationship between disability and well-being. I argue that many disabilities are best understood as a kind of pro-tanto extrinsic harm that is characterized in counterfactual terms. This means that our judgments concerning disability and harm must be context-sensitive. (shrink)

Here is the final volume of Norman O. Brown's trilogy on civilization and its discontents, on humanity's long struggle to master its instincts and the perils that attend that denial of human nature. Following on his famous books _Life Against Death_ and _Love's Body_, this collection of eleven essays brings Brown's thinking up to 1990 and the fall of Communism in Eastern Europe. Brown writes that "the prophetic tradition is an attempt to give direction to the social (...) structure precipitated by the urban revolution; to resolve its inherent contradictions; to put an end to its injustice, inequality, anomie, the state of war... that has been its history from start to finish." Affiliating himself with prophets from Muhammad to Blake and Emerson, Brown offers further meditations on what's wrong with Western civilization and what we might do about it. Thus the duality in his title: crisis and the hope for change. In pieces both poetic and philosophical, Brown's attention ranges over Greek mythology, Islam, Spinoza, and _Finnegan's Wake_. The collection includes an autobiographical essay musing on Brown's own intellectual development. The final piece, "Dionysus in 1990," draws on Freud and the work of Georges Bataille to link the recent changes in the world's economies with mankind's primordial drive to accumulation, waste, and death. (shrink)

McRae, Brown and Elman argue against the view that events are structured as frequently‐occurring sequences of world stimuli. They underline the importance of temporal structure defining event types and advance a more complex temporal structure, which allows for some variance in the component elements.

Critical notice of Guy Fletcher's 'Dear Prudence: The Nature and Normativity of Prudential Discourse' and Dale Dorsey's 'A Theory of Prudence'.