In Democracy and the Claims of Nature, the leading thinkers in the fields of environmental, political, and social theory come together to discuss the tensions and sympathies of democratic ideals and environmental values. The prominent contributors reflect upon where we stand in our understanding of the relationship between democracy and the claims of nature. Democracy and the Claims of Nature bridges the gap between the often competing ideals of the two fields, leading to a greater understanding of each for the (...) other. (shrink)

sn y™to˜er —nd xovem˜er IWHUD just over two ye—rs —fter the ™ompletion of his spe™i—l theory of rel—tivityD iinstein m—de the ˜re—kthrough th—t set him on the p—th to the gener—l theory of rel—tivityF ‡hile prep—ring — review —rti™le on his new spe™i—l theory of rel—tivityD he ˜e™—me ™onvin™ed th—t the key to the extension of the prin™iple of rel—tivity to —™™eler—ted motion l—y in the rem—rk—˜le —nd unexpl—ined empiri™—l ™oin™iden™e of the equ—lity of inerti—l —nd gr—vit—tion—l m—ssesF „o interpret (...) —nd exploit this ™oin™iden™eD he introdu™ed — new —nd powerful physi™—l prin™ipleD soon to ˜e ™—lled the ’prin™iple of equiv—len™e4 upon whi™h his se—r™h for — gener—l theory of reE l—tivity would ˜e ˜—sedF woreoverD with the ™ompletion of the theory —nd throughout the rem—inder of his lifeD iinstein insisted on the fund—ment—l import—n™e of the prin™iple to his gener—l theory of rel—tivityF iinstein9s insisten™e on this point h—s ™re—ted — puzzle for philosophers —nd histori—ns of s™ien™eF st h—s ˜een —rgued vigorously th—t the prin™iple in its tr—dition—l formul—tion does not hold in th™ gener—l theory of rel—tivityD gonsiderD for ex—mpleD — tr—dition—l formul—tion su™h —s €—uli9s in his IWPI Encyklopadie —rti™leF por €—uli the prin™iple —sserts th—t one ™—n —lw—ys tr—nsform —w—y —n —r˜itr—ry gr—vit—tion—l eld in —n innitely sm—ll region of sp—™eEtimeD ˜y tr—nsforming to —n —ppropri—te ™oordin—te system @€—uli IWPID pF IRSAF sn responseD su™h eminent rel—tivists —s ƒynge @IWTHD pF ixAD —nd even iddington ˜efore him @IWPRD ppF QW{RIAD h—ve o˜je™ted th—t — ™oordin—te tr—nsform—tion or ™h—nge of st—te of motion of the o˜server ™—n h—ve no ee™t on the presen™e or —˜sen™e of — gr—vit—tion—l eldF „he presen™e of — ’true4 gr—vit—tion—l eld is determined ˜y —n inv—ri—nt ™riterionD the ™urv—ture of the metri™F „he gr—vit—tionEfree ™—se of spe™i—l rel—tivity is just the ™—se in whi™h this ™urv—ture v—nishesD where—s the true gr—vit—tion—l elds of gener—l rel—tivity —re distinguished ˜y the nonv—nishing of this ™urv—tureF „his o˜je™tion h—s immedi—te r—mi™—tions for the ’iinstein elev—tor4 thought experimentD whi™h is ™ommonly used in the formul—tion of the prinE ™iple of equiv—len™eF sn this thought experimentD — sm—ll ™h—m˜ers su™h —s.... (shrink)

iinstein oered the prin™iple of gener—l ™ov—ri—n™e —s the fund—ment—l physi™—l prin™iple of his gener—l theory of rel—tivityD —nd —s responsi˜le for extending the prin™iple of rel—tivity to —™™eler—ted motionF „his view w—s disputed —lmost immedi—tely with the ™ounterE™l—im th—t the prin™iple w—s no rel—tivity prin™iple —nd w—s physi™—lly v—™uousF „he dis—greeE ment persists tod—yF „his —rti™le reviews the development of iinstein9s thought on gener—l ™ov—ri—n™eD its rel—tion to the found—tions of gener—l rel—tivity —nd the evolution of the ™ontinuing de˜—te (...) over his viewpointF.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Leibniz and Bayle: Manicheism and Dialectic DAVID NORTON LEIBNIZ' CLAIM that this is the "best of all possible worlds" has seemed so prima facie absurd that his critics have often considered the assertion adequately refuted by their pointing to things which are clearly "bad" and which might conceivably be "better." The paradigm case is Voltaire's Candide, which is certainly an effective refutation of Leibniz' claim at this level. (...) We can, however, by taking another point of view find what appear to be other absurdities in Leibniz' metaphysics. The point of view I wish to take, or attempt to take, is that of Pierre Bayle. I wish to suggest some objections to Leibniz which Bayle may have felt, but which he did not make explicit. Such an undertaking will, hopefully, add to our understanding of both Leibniz and Bayle. I What I propose to do is unorthodox, or at least unusual, and for that reason it is extremely important that the reader have from the very outset a clear idea of what is being undertaken. I can best clarify my aims, I think, by first attending briefly to some historical matters. Between 1695 and 1699 Bayle and Leibniz carried on a lively controversy over the latter's metaphysical views, though the debate was limited almost entirely to the notion of pre-established harmony. This controversy is well enough known that we need not stop over its details; in summary, Bayle first admits delight at what appears to be a new metaphysical explanation of the union of mind and body, but then goes on to argue that, after all, Leibniz' system is either no more than a reformulation of occasionalism, or impossible, since it violates clear and accepted metaphysical canons? Now, so far as we know, Bayle did not comment further on Leibniz' metaphysics, though the latter was * I wish to thank Prof. Harry M. Bracken, Arizona State University, and Prof. Richard H. Popkin, University of California, San Diego, for the suggestions and criticisms which they made of an earlier form of this paper. Their suggestions were all enlightening, if not all adopted-meaning, of course, that they would probably not agree with all that I here suggest. x Pierre Bayle, Dictionaire historique et critique, 5=. 6dition, revue, corrig6e, et augment6e, avec la vie de l'auteur, par Mr. Des Maizeaux, 4 tomes (Amsterdam, Leide. La Haye, Utrecht: 1740), article "Rorarius," reins. H. and L. For a fuller account of the Bayle-Leibniz controversy, see Austin Farrer, "Editor's Introduction," in G. W. Leibniz, Theodicy, ed. Austin Farrer, trans. E. M. Huggard (London: 1951), pp. 7-47, esp. pp. 33-47. 24 HISTORY OF PHILOSOPHY eager to continue the controversy, and did so, his final effort being a gigantic one, the Essais de Thdodicde. Unfortunately, Bayle died before the Thdodicde was published and was deprived accordingly of any opportunity to reply to it. Bayle did, however, leave in the Dictionaire historique et critique a number of arguments against various metaphysical positions. The point of my paper is to show that certain of these arguments are applicable to Leibniz' system, and that applied to that system they reveal features of it which we might otherwise have overlooked. Bayle adduces arguments which seem with only slight modification to point directly at Leibniz--though without indicating that he has Leibniz in mind. I hope first of all to show what these arguments are and in what sense they refute Leibniz. I have said that Bayle gives no indication that these arguments of his apply to Leibniz; strictly speaking, this is correct. This does not mean, however, that I am understaking an unjustified wild goose chase through the Dictionaire : Bayle himself offers the motivation which has led to this study when he says in "Rorarius" (rem. L) that he has withheld some objections to Leibniz' opinions on the ground that these are no more objections to Leibniz than to certain other philosophers: "Je m'abstiens aussi de toutes les Objections qui ne sont pas plus contraires ~t son sentiment qu'~t celui de quelques autres Philosophes." In one sense then this paper can be thought of as my speculations of what these waived objections are... (shrink)

This essay offers a theoretical analysis of the changes which are taking place in the musical consciousness of listeners in the present phase of society. The author seeks rather to deduce the conditions of musical reception from the present stage of musical production. The first part of the article deals with changes in production as they affect the general consciousness of listeners. Light music is discussed as well as serious music insofar as it reaches the consumer. Changes in reception are (...) revealed in certain characteristics like the cult of the melody, of the voice, of the master violin, and they are tied up with specific economic concepts. Success plays a particularly important role in this connection.The second part is devoted to the retrogression in listening, analyzed psychologically. Docile passivity, imitation of pre-given patterns, and bitter resentment of the „abnormal“ have become characteristic for the listener. The author shows how this retrogression has become concretized in the formation of a „musical child’s language.“Many listeners seek to overcome passivity by a pseudo-activity. The social function of certain types like the jitter-bug, the radio amateur, or the man with a knack for jazz, are discussed.L’article entreprend d’interpréter sous forme d’une esquisse théorique les transformations qu’a subies la conscience musicale des auditeurs dans la phase actuelle de l’évolution sociale.On n’analyse pas psychologiquement les réactions des auditeurs ; mais on prend pour point de départ Tétât de la production, et de celui-ci on déduit celui de la réception.La première partie traite de la transformation de la production dans la mesure où celle-ci atteint la conscience commune des auditeurs. L’auteur considère aussi bien la musique légère que la soi-disant musique sérieuse et les modifications que connaît celle-ci pour parvenir à la consommation.Ces modifications font de la musique un fétiche. On en prend pour exemple le culte des „idées“ musicales, de la voix et des „violons de maître“. Le caractère fétiche de la musique se mesure au succès accumulé.Ensuite, on développe quelques catégories du fétichisme musical : dépravation, arrangement, „divertissement élevé“, idolâtrie de la perfection.Au fétichisme de la musique correspond du côté de l’auditeur une régression de la faculté d’entendre — phénomène qui fait l’objet de la deuxième partie de l’étude. On l’interprète comme l’attitude auditive caractéristique des „régressifs“. Soumission passive, imitation de l’antérieurement donné, fureur contre ce qui sort de la norme — définissent cette attitude, qui s’objective en un langage musical puéril en formation et dont quelques éléments sont esquissés.A cette passivité, de larges groupes d’auditeurs cherchent vainement à échapper par une pseudo-activité. Quelques types de pseudo-activité sont décrits : l’enthousiaste, le bricoleur et le „chic type“. On montre la fonction sociale de ces types.Enfin, on traite des possibilités dialectiques de l’audition du régressif. Une confrontation de l’expérience fondamentale de la musique radicalement neuve avec le mode régressif d’entendre termine l’article. (shrink)

The world appears to conscious creatures in terms of experienced sensory qualities, but science doesn't find sensory experience in that world, only physical objects and properties. I argue that the failure to locate consciousness in the world is a function of our necessarily representational relation to reality as knowers: we won't discover the terms in which reality is represented by us in the world as it appears in those terms. Qualia -- arguably a type of representational content -- will therefore (...) not be found in the physical world as characterized in experience or science. Instead, consciousness constitutes a subjective, representational reality for cognitive systems such as ourselves, and the physical world is a represented objective reality. I suggest that naturalistic approaches to explaining consciousness should acknowledge the non-objectivity of experience, and be constrained by evidence that consciousness accompanies certain sorts of behaviour-controlling representational functions carried out by complex, physically instantiated mind-systems. I evaluate a variety of current hypotheses about consciousness, and suggest that a mature science of representation may help explain why, perhaps as matter of representational necessity, experience arises as a natural but not objectively discoverable phenomenon. (shrink)

The article consists of four chapters taken from a comprehensive study on Wagner.The first chapter discusses the character of the man Wagner. The author undertakes a social analysis which reveals Wagner to be a bourgeois figure who is no longer able to fulfill the monadological claims of bourgeois society, and who actually deserts to the ruling powers while seemingly in conflict with the society of his day. This analysis is made particularly clear through a study of Wagner's anti-Semitism.The following sections, (...) only excerpts of which appear in the present essay, study the relationship between Wagner’s social character and the technical structure of his works, using concepts such as the conductor- composer and the,,gestural type“ of composition. This approach involves minute analyses of certain essential elements of Wagner's technique : the leitmotif, the infinite („unendliche“) melody, his harmonization and scoring.From the principle of Wagner's instrumentation the author derives the concept of phantasmagoria, which is the subject of the sixth chapter of the larger wrork (reprinted here). Phantasmagoria is defined as the aesthetic phenomenon that tends to hide the mode of its genesis and to appear as „nature“.The seventh and eighth chapters have not been included. They deal with the notion of the music drama as the phantasmagoric form, developed primarily from Wagner's theoretical writings, and with the mythical element in his work. The mythical in Wagner is two-sided, for it seeks to interpret the unconscious and in turn to dissolve the real into the unconscious.The two final chapters are devoted to the philosophy inherent in the works of Wagner and to a philosophical interpretation of his work. Chapter nine discusses the Ring from the standpoint of the betrayal of the revolution by the „rebel“. The canon is given by analysis of Wotan as the unity of Impotent old god and beggar. Chapter ten describes Wagner's pessimism. It shows the fundamental difference between Wagner and Schopenhauer, analyzes the Wagnerian concept of the nil as that of the chimaerical, and concludes by „rescuing“ his nihilism as the form adopted by Utopia in the early period of bourgeois decay.L'article se compose de quatre chapitres extraits d’un vaste travail consacré à Richard Wagner.Le premier chapitre étudie la personnalité de Wagner : son caractère est défini comme étant celui du bourgeois désormais incapable de répondre aux exigences monadologiques de la société bourgeoise. L’apparence d’un conflit avec la société masque la soumission de fait aux puissances établies : c’est ce qui est étudié de près dans l’analyse de l’antisémitisme wagnérien.Les chapitres suivants, desquels la présente publication n’offre que des extraits, établissent d’abord — grâce aux concepts du chef d’orchestre et du mode „gestique“ de la composition — le rapport entre le caractère social de Wagner et la complexité technique de son oeuvre. Viennent ensuite des analyses détaillées de quelques éléments essentiels du mode wagnérien de composition, tels que la technique du leitmotiv, de la mélodie infinie, de l’harmonique et de l’instrumentation.Le concept de la fantasmagorie est déduit du principe de l’instrumentation wagnérienne : voilà le thème central du sixième chapitre que notre texte présente, de nouveau, intégralement. La fantasmagorie est définie comme le phénomène esthétique qui renie le mode de sa production.Les chapitres VII et VIII encore, manquent dans la présente publication. Ils traitent du concept du drame musical en tant que forme fantasmagorique. Ce sont surtout les écrits théoriques de Wagner qui servent à développer ce concept. On en vient à examiner l’élément mythique de l’oeuvre wagnérienne — élément équivoque en ce qu’il tend à interpréter l’inconscient en même temps qu’il voudrait le dissoudre dans un inconscient plus profond encore.Les deux derniers chapitres étudient la philosophie inhérente de Wagner, et tâchent de donner une interprétation philosophique de son oeuvre. Le neuvième chapitre donne une analyse du „Ring“ — la trahison de la révolution par le „rebelle“. Le „canon“ du raisonnement est, ici, la figure de Wotan — à la fois vieux dieu rendu impuissant et mendiant. Le chapitre X décrit le pessimisme wagnérien. Il expose la différence fondamentale entre Wagner et Schopenhauer, la reconstruction méthodique du concept wagnérien du néant montre que ce néant est chimérique. La conclusion est, en quelque sorte, une réhabilitation du nihilisme wagnérien en ce que ce nihilisme fut la forme que revêtit l’utopie au début de la décadence bourgeoise. (shrink)

This book comes strongly to the defence of educational theory and shows that it has a structure and integrity of its own. The author argues that the validity of educational theory may best be judged in terms of the various assumptions made in it. His argument is illustrated by a review and critique of some particularly influential theories of education: those of Plato, Rousseau, James Mill and John Dewey. He stresses the need for an on-going, contemporary, general theory of education (...) and examines the ways in which the disciplines of psychology, sociology and philosophy can contribute to a general theory of this kind. (shrink)

Philosophy and philosophy of education Introduction This book sets out to give a brief and elementary introduction to philosophy of education, a specialised ...

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Enough and too much has been written about the Epic Cycle. Upon scanty quotations and a jejune epitome a tedious literature has been built. The older writers, such as Welcker, tried to ‘reconstruct’—as profitable and satisfying a task as inferring a burnt manor-house from its cellars; later scholars have gone out in tracing the tradition of the poems through the learned age of Greece—a scaffolding without ties, by which this or that conclusion is reached according to temperamental disposition to this (...) or that fallacy. I do not intend to enter more than is needful into a controversy where so far as I can see everyone has gone beyond the evidence. If I add to the bulk of the literature, it is in the hope of putting things in their proper places and of presenting the data as they appear to a future editor. (shrink)