It is an interesting fact of our time that some of the best studies of communism and Marxism have been written by Catholic scholars. This book, based on a series of television programs in St. Louis aims at presenting an historical and theoretical understanding of the emergence of Marxism and the development of Communism. Written for the intelligent lay reader as an introduction to a complex subject, the treatment is lucid and balanced.—R. J. B.

Some philosophers (including Urmson, Humberstone, Shah, and Velleman) hold that believing that p distinctively involves applying a norm according to which the truth of p is a criterion for the success or correctness of the attitude. On this view, imagining and assuming differ from believing in that no such norm is applied. I argue against this view with counterexamples showing that applying the norm of truth is neither necessary nor sufficient for distinguishing believing from imagining and assuming. Then I argue (...) that the different functional properties of these mental states are enough to distinguish them, and that norm-application doesn't help us draw the functional distinctions. (shrink)

We can infer moral conclusions from nonmoral evidence using a three-step procedure. First, we distinguish the processes generating belief so that their reliability in generating true belief is statistically predictable. Second, we assess the processes’ reliability, perhaps by observing how frequently they generate true nonmoral belief or logically inconsistent beliefs. Third, we adjust our credence in moral propositions in light of the truth ratios of the processes generating beliefs in them. This inferential route involves empirically discovering truths of the form (...) “Process P, which generates belief in moral proposition M, has truth ratio T", and using them to discover probabilities for moral propositions. The inferential route is noncircular, and progress along it is driven fundamentally by induction. (shrink)

This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the two mental state (...) types make distinct contributions to generating emotional responses to stories. Finally, the differences between the mental states illuminate how a given story can be both shared with others and at the same time experienced as personal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 368-370 [Access article in PDF] Book Review Skeptical Music: Essays on Modern Poetry Skeptical Music: Essays on Modern Poetry, by David Bromwich; xvii & 256 pp. Chicago: University of Chicago Press, 2001; $49.00 cloth, $16.00 paper. In his preface to this gathering of his essays and reviews on twentieth-century American and British poetry, David Bromwich regrets that it is "too late to suppress the (...) evidence of a critic educating himself in public" (p. xi). But even the earliest work reprinted in Skeptical Music--"The Making of the Auden Canon," published in the Times Literary Supplement in 1976, when the author was still a graduate student at Yale--hardly qualifies as juvenilia. Indeed, in Bromwich's case, evidence of a critic educating himself in public seems to have been suppressed from the start. No single explanation will account for an author's precocity, but the consistency of Bromwich's critical voice over the last quarter century is certainly related to his early preoccupation with William Hazlitt, the subject of his first book. In choosing Hazlitt as his model, Bromwich rejected what he took to be the legacy of systematic and professional literary theory extending from Coleridge to each new school of academic criticism. Bromwich's own development as a critic has therefore been subtler and more introspective than the critical retooling of so many of his colleagues. Although never far from the evaluative art of the reviewer, Bromwich has come to favor the more speculative dimension of his work. The more recent the piece, the more overt the attempt to imagine "what was in the poet's mind, or what was in the poem's mind, on the theory that certain thoughts and feelings are worth the trouble to characterize because of their strangeness and originality" (p. xi).Some of the most compelling chapters in Skeptical Music imagine what was in the poet's mind, or the poem's mind, by telling stories about complex relationships between poems by different poets--between the work of Marianne Moore and Elizabeth Bishop, or T. S. Eliot and Hart Crane. These are stories about literary influence, or deep temperamental affinity. As in Harold Bloom's work, the stories are grounded in close readings, usually of the passages the critic prizes for their aesthetic superiority.A related procedure is at work in "Stevens and the Idea of the Hero"--a long speculative piece on Wallace Stevens's transfer of allegiance, at a crucial moment in his career, from the pragmatism of Nietzsche to the pragmatism of William James. What Stevens found "most persistently attractive" in Nietzsche's pragmatism, Bromwich coolly explains, was "the suggestion that the good of existence is change" and that "our most vivid acknowledgment of that good comes from the ability to imagine a life wiped clear of ourselves" (p. 71). But the Nietzschean sublime proved insufficient for Stevens. During the Second World War, the poet was confronted by "the reality of American soldiers going off to fight... for a cause which, as Stevens saw it, they could only make true by their fighting" (p. 68). Stevens turned to James for "the less brutal idea of a [End Page 368] man or woman who is made great by an enterprise in which others have a part" (p. 78).Bromwich's argument that Stevens became a more valuable poet when he located heroism in human solidarity, not just Nietzschean contingency and self-creation, bears a family resemblance to the work of one of James's heirs, Richard Rorty. Like Rorty, Bromwich often feels the pressure to adjudicate between the claims of the individual artist and the claims of the community; and like Rorty, he makes his judgements on a case by case basis, without recourse to a set standard, rule, or theory. In the closing chapter of Skeptical Music--"Is Taste Moral?"--Bromwich directly addresses the tension between aestheticism and the social good, a subject that also surfaces at the close of his preface and at numerous moments throughout the book. But the claims of the community seem relatively muted... (shrink)

The question of form and content is one of the fundamental questions of esthetics and the theory of art. However, it remains unresolved in many respects. Certain of its aspects still have not been investigated, and others have been treated only very sketchily.

An introductory ethics course serves many and often disparate ends, so much so that it may be difficult to find a theme or question that can tie these ends together in a coherent course narrative. This paper shares the author’s attempt to do so. In addition to high student interest in the subject, the topic of our obligation to future generations has the advantage of naturally leading a course through several systematic areas of philosophical importance. This topic lends itself not (...) only to moral theory (e.g. the Nonidentity Problem), but also metaphysics (e.g. the metaphysics of personhood underpinning the Nonidentity Problem), political theory (e.g. utilitarian vs. Rawlsian answers to the question), and applied ethics (e.g. population policies). The author speaks to this topic’s adaptability to various levels of study (introductory, advanced, and graduate) and explains how the theme is taught at each level. (shrink)

Explores mind-body philosophy from an Asian perspective.

Artist Leonid Filatov. Kakimi raznorodnymi talantami on odaren! YArkij kinorezhisser. Blistatel'nyj parodist. Skazochnik. I vse, chto on delal - pechal'noe i mudroe - na radost' nam. Ego poeziya sozdaet obrazy dushevnoj zhizni lyudej, nepohozhih drug na druga, dazhe protivostoyaschih drug drugu. Eto svojstvo istinnogo iskusstva. Komedijnaya p'esa po motivam bessmertnogo romana Dyuma otkryla nam esche odnu storonu ego darovanij.