Qu'est-ce que la musique? Selon Jankélévitch, il y a dans la musique une double complication, génératrice de problèmes métaphysiques et de problèmes moraux. Car la musique est à la fois expressive et inexpressive, sérieuse et frivole, profonde et superficielle ; elle a un sens et n'en a pas. Il y a une ironique disproportion entre la puissance incantatoire de la musique et l'inévidence foncière du beau musical.

Rassemble, pour l'essentiel, les textes moraux du philosophe.

Od grčkog pojma sophia do Potterovih pojmova mudrosti i biološkog znanja, autor analizira različite filozofske i znanstvene koncepte znanja. Autor se slaže s Jaspersom u stavu da ono što je »iz filozofije prevodivo u zajedničko mišljenje, to na koncu odlučuje o njezinoj vrijednosti «. Autor zaključuje da novoj epohi i bioetičkoj perspektivi odgovara zahtjev za orijentacijskim znanjem, te ga nastoji definirati ne samo iz povijesti filozofije, nego i u suprotnosti s tradicionalnim stajalištima , te iz zahtjeva nove epohe.From the Greek (...) term sophia to the Potter’s terms wisdom and biological knowledge, author analyses different philosophical and scientific concepts of knowledge. The author agrees with Jaspers on the notion that what is “transferable from philosophy into the common reasoning is what at the end decides on its worthiness”. The author concludes that the demand for an orientational knowledge corresponds with the new epoch and bioethical perspective, and is trying to define this demand not only from the history of philosophy, but in its contrast to the traditional views represented by Descartes and Bacon, and also from the demands of the new epoch itself. (shrink)

"This personification of wisdom with golden hair and a radiant aura echoes both the eternal feminine and the world soul. Rooted in Christian and Jewish mysticism, Eastern Orthodox iconography, Greek philosophy, and European romanticism, the Sophiology that suffuses Solovyov's philosophical and artistic works is both intellectually sophisticated and profoundly inspiring. Judith Deutsch Kornblatt brings together key texts from Solovyov's writings about Sophia: poetry, fiction, drama, and philosophy, all extensively annotated and some available in English for the first time (with assistance (...) from the translators Boris Jakim and Laury Magnus)."--Amazon website. (shrink)

This article discusses the connection between the ideas of Fyodor M. Dostoevsky and Vladimir S. Solovyov on the need for cultural and moral transformation of those who would claim to participate in...

Although there are numerous similarities between Duhem and Quine, there are strong arguments which suggest that what can be isolated as Quine?s thesis would be unacceptable to Duhem. On the other hand, they both share Duhem?s holistic thesis: empirical statements are interconnected in such a way that they cannot be confirmed or refuted taken in isolation. Since Quine?s holism is more radical, as we shall show, his thesis claims that we can always keep a statement by making necessary adjustments somewhere (...) else in the system. We will try to show that only the first thesis can be rightfully ascribed to Duhem, that these two thesis are not identical, and that they are both different from what is usually called the theses of underdetermination. As we shall see, neither of them speaks about the possibility of empirically equivalent theories. They are, first and foremost, holistic theses which, under certain additional assumptions, have the thesis of underdetermination as their consequence. (shrink)

My dear Aleksandr!I have finally found some quiet time for a slow and attentive read of your article “The Beginning of the Black Notebooks.”1 I very much liked the article, especially for your trul...

We conducted two experiments to determine whether common folk think that so-called _tell-tale sign_ bald-faced lies are intended to deceive—since they have not been tested before. These lies involve tell-tale signs (e.g. blushing) that show that the speaker is lying. Our study was designed to avoid problems earlier studies raise (these studies focus on a kind of bald-faced lie in which supposedly everyone knows that what the speaker says is false). Our main hypothesis was that the participants will think that (...) the protagonists from our examples lied without intending to deceive, and the results of our surveys confirmed this hypothesis: most of our participants rated tell-tale sign lies as lies not intended to deceive. Therefore, our analysis suggests that common folk think that some lies are not intended to deceive. (shrink)

The aim of this book is to present the fundamental theoretical results concerning inference rules in deductive formal systems. Primary attention is focused on: admissible or permissible inference rules the derivability of the admissible inference rules the structural completeness of logics the bases for admissible and valid inference rules. There is particular emphasis on propositional non-standard logics (primary, superintuitionistic and modal logics) but general logical consequence relations and classical first-order theories are also considered. The book is basically self-contained and special (...) attention has been made to present the material in a convenient manner for the reader. Proofs of results, many of which are not readily available elsewhere, are also included. The book is written at a level appropriate for first-year graduate students in mathematics or computer science. Although some knowledge of elementary logic and universal algebra are necessary, the first chapter includes all the results from universal algebra and logic that the reader needs. For graduate students in mathematics and computer science the book is an excellent textbook. (shrink)

People are remarkably smart: They use language, possess complex motor skills, make nontrivial inferences, develop and use scientific theories, make laws, and adapt to complex dynamic environments. Much of this knowledge requires concepts and this study focuses on how people acquire concepts. It is argued that conceptual development progresses from simple perceptual grouping to highly abstract scientific concepts. This proposal of conceptual development has four parts. First, it is argued that categories in the world have different structure. Second, there might (...) be different learning systems that evolved to learn categories of differing structures. Third, these systems exhibit differential maturational course, which affects how categories of different structures are learned in the course of development. And finally, an interaction of these components may result in the developmental transition from perceptual groupings to more abstract concepts. This study reviews a large body of empirical evidence supporting this proposal. (shrink)

This article aims to discuss the aesthetic autonomy as a model for social emancipation. It starts from the contemporary challenges for the defense of aesthetic autonomy, using autonomy for criticizing discourses that seems to sustain a possible conciliation between life and art that not take into account the problems resulting from the connection between culture and capitalistic production.

Recently, psychologists have explored moral concepts including obligation, blame, and ability. While little empirical work has studied the relationships among these concepts, philosophers have widely assumed such a relationship in the principle that “ought” implies “can,” which states that if someone ought to do something, then they must be able to do it. The cognitive underpinnings of these concepts are tested in the three experiments reported here. In Experiment 1, most participants judge that an agent ought to keep a promise (...) that he is unable to keep, but only when he is to blame for the inability. Experiment 2 shows that such “ought” judgments correlate with judgments of blame, rather than with judgments of the agent’s ability. Experiment 3 replicates these findings for moral “ought” judgments and finds that they do not hold for nonmoral “ought” judgments, such as what someone ought to do to fulfill their desires. These results together show that folk moral judgments do not conform to a widely assumed philosophical principle that “ought” implies “can.” Instead, judgments of blame play a modulatory role in some judgments of obligation. (shrink)

ABSTRACTThe psychological and philosophical literature exploring the role of social influence in moral judgments suggests that conformity in moral judgments is common and, in many cases, seems to b...

Sorensen says that my assertion that p is a knowledge-lie if it is meant to undermine your justification for believing truly that ∼p, not to make you believe that p and that, therefore, knowledge-lies are not intended to deceive. It has been objected that they are meant to deceive because they are intended to make you more confident in a falsehood. In this paper, I propose a novel account according to which an assertion that p is a knowledge-lie if it (...) is intended not to provide evidence that p but to make you stop trusting all testimonies concerning whether p, which is how they undermine your testimonial knowledge. Because they are not intended to provide evidence that bears on the truth of p, they are not intended to make you more confident in a falsehood; therefore, knowledge-lies are not intended to deceive. This makes them a problem for the traditional account, which takes the intention to deceive as necessary for lying, and an interesting example of Kant's idea that allowing lies whenever one feels like it would bring it about that statements in general are not believed. (shrink)

Vladimir Jankélévitch left behind a remarkable uvre steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics (...) and ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense. Music, Jankélévitch argues, is not a hieroglyph, not a language or sign system; nor does it express emotions, depict landscapes or cultures, or narrate. On the other hand, music cannot be imprisoned within the icy, morbid notion of pure structure or autonomous discourse. Yet if musical works are not a cipher awaiting the decoder, music is nonetheless entwined with human experience, and with the physical, material reality of music in performance. Music is "ineffable," as Jankélévitch puts it, because it cannot be pinned down, and has a capacity to engender limitless resonance in several domains. Jankélévitch's singular work on music was central to such figures as Roland Barthes and Catherine Clément, and the complex textures and rhythms of his lyrical prose sound a unique note, until recently seldom heard outside the francophone world. (shrink)

Philosopher Vladimir Jankélévitch has only recently begun to receive his due from the English-speaking world, thanks in part to discussions of his thought by Jacques Derrida, Emmanuel Lévinas, and Paul Ricoeur. His international readers have long valued his unique, interdisciplinary approach to philosophy’s greatest questions and his highly readable writing style. Originally published in 1967, Le Pardon, or Forgiveness, is one of Jankélévitch’s most influential works. In it, he characterizes the ultimate ethical act of forgiving as behaving toward the (...) perpetrator as if he or she had never committed the action, rather than merely forgetting or rationalizing it—a controversial notion when considering events as heinous as the Holocaust. Like so many of Jankélévitch’s works, Forgiveness transcends standard treatments of moral problems, not simply generating a treatise on one subject but incorporating discussions of topics such as free will, giving, creativity, and temporality. Translator Andrew Kelley masterfully captures Jankélévitch’s melodic prose and, in a substantive introduction, reviews his life and intellectual contributions. Forgiveness is an essential part of that legacy, and this indispensable English translation provides key tools for understanding one of the great Western philosophers of the twentieth century. (shrink)