We thank Amy Donahue for her attention to our work, and we thank the editors of Philosophy East and West for an opportunity to reply. We confess that we were not sure whether to reply. On the one hand we believe that her critique is so misguided that it needs no reply; on the other hand, we were worried that others might take our silence as conceding her point. On reflection, we decided that the larger issue she raises is (...) important enough to restate our position on it: cross-cultural philosophy demands respect for our interlocutors; respect demands serious philosophical engagement, not reflexive deference.We agree with Donahue that those who are trained in the current techniques of their discipline but use those.. (shrink)

“My objective is to achieve an intellectual detachment from all philosophical systems, and not to solve specific philosophical problems, but to become sensitively aware of what it is when we philosophize.” Copyright© Desh Raj Sirswal .

The Mahayana tradition in Buddhist philosophy is defined by its ethical orientation--the adoption of bodhicitta, the aspiration to attain awakening for the benefit of all sentient beings. And indeed, this tradition is known for its literature on ethics, which reflect the Madhyamaka tradition of philosophy, and emphasizes both the imperative to cultivate an attitude of universal care (karuna) grounded in the realization of emptiness, impermanence, independence, and the absence of any self in persons or other phenomena.This position is (...) morally very attractive, but raises an important problem: if all phenomena, including persons and actions, are only conventionally real, can moral injunctions or principles be binding, or does the conventional status of the reality we inhabit condemn us to an ethical relativism or nihilism? In Moonpaths, the Cowherds address an analogous problem in the domain of epistemology and argues that the Madhyamaka tradition has the resources to develop a robust account of truth and knowledge within the context of conventional reality. The essays explore a variety of ways in which to understand important Buddhist texts on ethics and Mahayana moral theory so as to make sense of the genuine force of morality. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

There is a dire need today to create spaces in which people can make meaning of their existence in the world, abiding by cultural frameworks and practices that acknowledge and validate a meaningful existence for all. People are not just isolated individuals but are connected in diverse ways with other persons within our natural and social environment which is part of the whole universe. The African philosophy of uBuntu or humaneness is re-emerging for its timely relevance and potential as (...) indispensable in our quest for global citizenship, peace, and mutual understanding in securing sustainable human development in the broader ecosystem. Comparative educationists have the challenge to devise theoretical frameworks, epistemological and pedagogical constructs as well as pragmatic, useful and effective ways of promoting the virtues of compassion and recognition of our common humanity in eliminating the ills of domination and control that are guided by greed, hatred, jealousy, and intolerance. Comparative Education for Global Citizenship, Peace and Shared Living through Ubuntu paves the way for a better understanding of the critical importance of the collective search and endeavor towards achieving the virtues of nonviolence, peace, shared values of living together, global citizenship, improved quality of life for all and a better appreciation of the positive implications of interdependence. (shrink)

Before now, there has been no comprehensive analysis of the multiple relations between A. Comte’s and J.S. Mill’s positive philosophy and Franz Brentano’s work. The present volume aims to fill this gap and to identify Brentano’s position in the context of the positive philosophy of the 19th century by analyzing the following themes: the concept of positive knowledge; philosophy and empirical, genetic and descriptive psychology as sciences in Brentano, Comte and Mill; the strategies for (...) the rebirth of philosophy in these three authors; the theory of the ascending stages of thought, of their decline, of the intentionality in Comte and Brentano; the reception of Comte’s positivism in Whewell and Mill; induction and phenomenalism in Brentano, Mill and Bain; the problem of the "I" in Hume and Brentano; mathematics as a foundational science in Brentano, Kant and Mill; Brentano’s critique of Mach’s positivism; the concept of positive science in Brentano’s metaphysics and in Husserl’s early phenomenology; the reception of Brentano’s psychology in Twardowski; The Brentano Institute at Oxford. The volume also contains the translation of the most significant writings of Brentano regarding philosophy as science. I. Tănăsescu, Romanian Academy; A. Bejinariu, Romanian Society of Phenomenology; S. Krantz Gabriel, Saint Anselm College; C. Stoenescu, University of Bucharest. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Thee paper presents Marcilio Ficino’s aesthetics which is of a specific kind and differs from what we usually understand under the term. It expresses more than only thoughts on beauty and art, speaks about more than only the varieties of beauty, and deals with more than just the work of art—the object of art—and its relation to beauty. Traditional concepts played an important part in Ficino’s aesthetics, but alongside narrowly understood “proper” aesthetics, he offered another, very broad view of the (...) entire aesthetic sphere, which allows his entire philosophy to be viewed as aesthetically rooted: love and beauty, which are among the driving ideas of his philosophy, are also aesthetic concepts. There are two other important elements in Ficino’s philosophy, God and the world, bound by a special relation based on his concept of the circuitus spiritualis. A cardinal theme in his philosophy, the circuitus spiritualis combines God with the world and is at once beauty, love and the highest degree of happiness. (shrink)

INTERWOVEN IN THE COMPLEX TEXTURE of Solomon Maimon's system are strands of thought originating in the theories of his avowed creditors. Maimon is one of the first modern philosophers who acknowledges his debt to diverse philosophical trends and traditions. Among his major creditors, Maimon includes Maimonides and Spinoza. The present analysis, however, will be restricted to an exploration of his debt to Leibniz, Hume, and Kant.

I THE NATURE AND IMPORTANCE OF THE POSITIVE PHILOSOPHY In order to explain properly the true nature and peculiar character of the positive philosophy, ...

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

_The first English translation of Schelling’s final “existential system.”_.

Philosophy is an important relation with education as it gives theoretical ground for its development. Principles and values of life learnt through education and experience gives birth to philosophy. Philosophy lays the foundation of leading one’s life based on principles. Education is the source of learning and philosophy it’s applications in human life. While discussing about the real nature of philosophy in present time, we should have a single criteria as if it to be acceptable (...) to all reasonable people of the world. In defining Positive Philosophy it may be said, The Positive Philosophy is an attempt to achieve an intellectual detachment from all philosophical systems, and not to solve specific philosophical problems, but to become sensitively aware of what it is we do when we philosophize. It is an attitude as well as a methodology for both academician and common person. It make education process positive so that it can make something useful for societal growth and in working process it also make the person sensitive about the societal problems and make them ready to be a part of social change. I am not negating something, here “positive” word is not an antonym but it is an adjective. Where there are merely religious, metaphysical and passive ideologies in our education system, we are not able to have a good and creative education. Positive Philosophy is working on that issues which have some worth for human. It is a process to do something creative. We are using innovative method. An innovator could be rebellion because he breaks the established method, norms and redefines the layer of thought. Innovation not simply implies questioning, reshaping, restricting but also developing through transformation. A teacher can play an important role in promoting this discussion because a teacher has the capacity to influence students with their thoughts and personality and engages them to creative activities. Innovativeness needs to be included in the curriculum. Once one becomes habitual to this attitude he/she will be ready to do some positive or creative. In this paper it is an attempt being made to apply positive philosophy though innovative method in our present education system. -/- . (shrink)

This essay has two aims. The first is to offer an explanation concerning the problem of form in Umberto Eco’s philosophical research, showing that he deals with it while admitting that form can be a temporary element connected to a system of relationships which may be subject to variability. Namely, his reflection is open to the issue of structure. The second aim is to identify some principles that, according to this theoretical approach, may be considered a basis for a (...) class='Hi'>positive philosophy of the arts whose adoption might also lead to the understanding of their most recent evolutions. Focusing above all on the work Eco carried out in the years preceding the elaboration of his semiotic theory, I will pursue the following two objectives. After introducing some aspects of Eco’s philosophical methodology, I will focus on the theme of form, considering it in meta-operative terms in light of Luigi Pareyson’s ‘theory of formativity’ and in relation to the issue of structure. In the final part of the essay, I will then show how this theoretical approach provides significant resources for a positive philosophy that can successfully address the evolution of the arts. (shrink)

The aim of this article is to show clearly what the terms “object” and “objectivity” as used over the centuries of modern philosophy — from the time of Descartes down to the time of Wittgenstein and Husserl, i.e., from early modern Rationalism and Empiricism to late modern Phenomenology and Analytic philosophy — have obscured. Objectivity, far from being “the ability to consider or represent facts, information, etc., without being influenced by personal feelings or opinions; impartiality; detachment,” as the (...) OED would have it, is fundamentally the condition of occupying the position of the significate in a triadic relation the foreground element of which is a sign vehicle conveying that significate to or for some third. Simply put, an “object” is a significate, a fact that common usage has come to obscure by sedimenting the influence of modern philosophy's reversal of the meaning of the terms “subjective” and “objective,” where the former has come to signify “private opinion” in contrast to “the way things are.” But this sedimentation to the level of common usage of modern solipsistic epistemology is precisely a usage that semiotic analysis of the linguistic sign overcomes, showing that in the expression “object signified” the qualification “signified” is redundant, for an object is nothing other than something signified! Thus “significate,” a term that modern dictionary makers resist, says clearly what the term “object” says obscurely; and a great deal of mischief in philosophy over the centuries after Descartes has been the result of this distinctively modern obscurantism in philosophy. (shrink)

Epistemic impermissivism is the view that there is never more than one doxastic attitude it is rational to have in response to one's total evidence. Epistemic permissivism is the denial of this claim. The debate between the permissivist and the impermissivist has proceeded, in large part, by way of 'negative' arguments that highlight the unattractiveness of the opposing position. In light of the deadlock that has ensued, this paper has two aims. The first is to introduce the concept of a (...) 'positive' argument for impermissivism. The second is to show that this argument faces a dilemma, one that generalizes the problems that famously arise for formal constraints like the Principle of Indifference. The aim of this paper is to strengthen the argument against the impermissivist by showing that no positive argument for impermissivism is likely to succeed. (shrink)

One is tempted to look upon the positive and the logical somewhat as one looks upon the quick and the dead. Yet the issue is hardly that sharp. Viability has strange possibilities and varied forms, and must often be appraised with an eye directed as much towards the environment as towards the claimant organism. Stretching the application of the word ‘viable’ to complexes of behavior such as the philosophies and theories of knowledge, we may ask: Is the combination of (...) the positive and the logical in logical positivism viable? And is this logical positivism itself as it stands either positive or logical? (shrink)

No research explored intellectual capital about green innovation or environmental management. This study wanted to fill this research gap, and proposed a novel construct - green intellectual capital - to explore the positive relationship between green intellectual capital and competitive advantages of firms. The empirical results of this study showed that the three types of green intellectual capital - green human capital, green structural capital, and green relational capital - had positive effects on competitive advantages of firms. Moreover, (...) this study found that green relational capital was the most common among these three types of green intellectual capital, and the three types of green intellectual capital of Medium & Small Enterprises were all significantly less than those of large enterprises in the information and electronics industry in Taiwan. In sum, companies investing many resources and efforts in green intellectual capital could not only meet the trends of strict international environmental regulations and popular environmental consciousness of consumers, but also eventually obtain corporate competitive advantages. (shrink)

Putnam coined what is now known as the no miracles argument “[t]he positive argument for realism”. In its opposition, he put an argument that by his own standards counts as negative. But are there no positive arguments against scientific realism? I believe that there is such an argument that has figured in the back of much of the realism-debate, but, to my knowledge, has nowhere been stated and defended explicitly. This is an argument from the success of quantum (...) physics to the unlikely appropriateness of scientific realism as a philosophical stance towards science. I will here state this argument and offer a detailed defence of its premises. The purpose of this is to both exhibit in detail how far the intuition that quantum physics threatens realism can be driven, in the light also of more recent developments, as well as to exhibit possible vulnerabilities, i.e., to show where potential detractors might attack. (shrink)

It has been known for many years that the matrix representation of the one-dimensional position-momentum commutator calculated with the position and momentum matrices in a finite basis is not proportional to the diagonal matrix, contrary to what one expects from the continuous-space commutator. This discrepancy has correctly been ascribed to the incompleteness of any finite basis, but without the details of exactly why this happens. Understanding why the discrepancy occurs requires calculating the position, momentum, and commutator matrix elements in the (...) continuous position basis, in which all are generalized functions. The reason for the discrepancy is revealed by replacing the generalized functions with sequences approaching them as their parameter approaches zero. Besides explaining the discrepancy in the discrete and continuous models, this investigation finds an unusual double-peaked sequence for the Dirac delta function. (shrink)

In a period of rapid internationalization of trade and increased labor mobility, is it relevant for nations to think about their moral obligations to others? Do national boundaries have fundamental moral significance, or do we have moral obligations to foreigners that are equal to our obligations to our compatriots? The latter position is known as cosmopolitanism, and this volume brings together a number of distinguished political philosophers and theorists to explore cosmopolitanism: what it consists in, and the positive case (...) which can be made for it. Their essays provide a comprehensive overview of both the current state of the debate and the alternative visions of cosmopolitanism with which we can move forward, and they will interest a wide range of readers in philosophy, political theory, and law. (shrink)

In this paper, a rights-based argument for the impermissibility of abortion, infanticide and neglect of some pre-natal organisms and infants/children is advanced. I argue, in opposition to most rights-ethicists, that the potentiality for autonomous agency gives individuals negative rights. I also examine the conjecture that potential autonomous agents have positive rights in virtue of their vulnerability. According to this suggestion, once an individual obtains actual autonomous agency, he or she has merely negative rights. Possible solutions to conflicts of rights (...) between parents and their offspring are investigated. Finally, I discuss a lexical order between positive and negative rights, which may solve conflicts between the rights of potential autonomous agents and actual autonomous agents. (shrink)

In this paper, I argue that the “positive argument” for Constructive Empiricism (CE), according to which CE “makes better sense of science, and of scientific activity, than realism does” (van Fraassen 1980, 73), is an Inference to the Best Explanation (IBE). But constructive empiricists are critical of IBE, and thus they have to be critical of their own “positive argument” for CE. If my argument is sound, then constructive empiricists are in the awkward position of having to reject (...) their own “positive argument” for CE by their own lights. (shrink)

In this paper, a rights-based argument for the impermissibility of abortion, infanticide and neglect of some pre-natal organisms and infants/children is advanced. I argue, in opposition to most rights-ethicists, that the potentiality for autonomous agency gives individuals negative rights. I also examine the conjecture that potential autonomous agents have positive rights in virtue of their vulnerability. According to this suggestion, once an individual obtains actual autonomous agency, he or she has merely negative rights. Possible solutions to conflicts of rights (...) between parents and their offspring are investigated. Finally, I discuss a lexical order between positive and negative rights, which may solve conflicts between the rights of potential autonomous agents and actual autonomous agents. (shrink)

This is a translation of the second chapter of F.W.J. Schelling's Abhandlungen zur Erlaüterung des Idealismus der Wissenschaftslehre. It is preceded by a brief introduction in which I situate the chapter within Schelling's oeuvre and suggest that it is not only an early articulation of Schellingian Naturphilosophie, but also prescient, anticipating Schelling's later positive philosophy.

In Avicenna's allegorical treatises humans are envoys of two worlds; on one hand, as products of natural evolution they are representatives of the earthly, physical world; on the other, as products of divine emanation they represent the cosmic principle. But in the process of spiritual contemplation they overcome theduality and split nature of their being and restore the fractured harmony between themselves and the cosmic world. Thus, having attained the highest form of cognition and moral beauty, the individual 'self becomes (...) the universal essence identified in the language of Sufism as 'the perfect human'. Avicenna tries in hisallegorical treatises to makes his of becoming a perfect individual is not a sudden act of illumination, but a pyramid-like development, arranged, like the heavenly spheres, hierarchically, and calling for an incredible exertion of followers recognize that each person is able to rise to the level of the 'perfect individual', the road to which lies through moral purification and mastery of learning and the sciences, primarily philosophy. But the process strength, self-limitation and effort of will to pass through the stages of perfection and achieve the aim. (shrink)

In this work, I discuss the role of Husserl’s phenomenology in Paolo Parrini’s positive philosophy. In the first section, I highlight the presence of both empiricist and constructivist elements in Parrini’s anti-foundationalist and anti-absolutist conception of knowledge. In the second section, I stress Parrini’s acknowledgement of the crucial role of phenomenology in investigating the empirical basis of knowledge, thanks to its analysis of the relationship between form and matter of cognition. In the third section, I point out some (...) lines of development of the phenomenological form of empirical realism as revealed in Parrini’s reflection, through a comparison of Husserl’s genetic phenomenology, Mary Hesse’s network model and the tradition of neutral monism. (shrink)

The power of the positive moral emotions to uplift and transform people has long been known, but not by psychologists. In 1771, Thomas Jefferson's friend Robert Skipwith wrote to him asking for advice on what books to buy for his library, and for his own education. Jefferson sent back a long list of titles in history, philosophy, and natural science. But in addition to these obviously educational works, Jefferson advised the inclusion of some works of fiction. Jefferson justified (...) this advice by pointing to the beneficial emotional effects of great fiction: [E]very thing is useful which contributes to fix us in the principles and practice of virtue. When any... act of charity or of gratitude, for instance, is presented either to our sight or imagination, we are deeply impressed with its beauty and feel a strong desire in ourselves of doing charitable and grateful acts also. On the contrary when we see or read of any atrocious deed, we are disgusted with its deformity and conceive an abhorrence of vice. Now every emotion of this kind is an exercise of our virtuous dispositions; and dispositions of the mind, like limbs of the body, acquire strength by exercise. (shrink)