The current U.S. health care system, with both rising costs and demands, is unsustainable. The combination of a sense of individual entitlement to health care and limited acceptance of individual responsibility with respect to personal health has contributed to a system which overspends and underperforms. This sense of entitlement has its roots in a perceived right to health care. Beginning with the so-called moral right to health care, the issue of who provides health care has evolved as individual rights have (...) trumped societal rights. The concept of government providing some level of health care ranges from limited government intervention, a ‘negative right to health care’, to various forms of a ‘positive right to health care’. The latter ranges from a decent minimum level of care to the best possible health care with access for all. We clarify the concept of legal rights as an entitlement to health care and present distributive and social justice counter arguments to present health care as a privilege that can be provided/earned/altered/revoked by governments. We propose that unlike a ‘right’, which is unconditional, a ‘privilege’ has limitations. Going forward, expectations about what will be made available should be lowered while taking personal responsibility for one’s health must for elevated. To have access to health care in the future will mean some loss of personal rights and an increase in personal responsibility for gaining or maintaining one’s health. (shrink)

Shoemaker argues that a satisfactory resolution of Moore's paradox requires a _self-intimation thesis that posits a "constitutive relation between belief and believing that one believes." He claims that such a thesis is needed to explain the crucial fact that the assent conditions for '_P' entail those for '_I believe that P'. This paper argues for an alternative resolution of Moore's paradox that provides for an adequate explanation of the crucial fact without relying on the kind of necessary connection between first (...) and second-order beliefs that is posited by Shoemaker's self-intimation thesis. (shrink)

Skeptical theses in general claim that we cannot know what we think we know. Content skepticism in particular claims that we cannot know the contents of our own occurrent thoughtsat least not in the way we think we can. I argue that an externalist account of content does engender a mild form of content skepticism but that the condition is no real cause for concern. Content externalism forces us to reevaluate some of our assumptions about introspective knowledge, but it is (...) compatible with privileged access and the distinctive epistemic character of introspective judgments. (shrink)

The philosophical problem of personal identity starts with something like Descartes’ famous question—“But what then am I?”—construed as an inquiry into the most fundamental nature of creatures like us. Let us stipulate that creatures like us are most fundamentally persons. That is, ‘person’ is the name of our..

Epistemic contextualism is the view that the truth-conditions for knowledge attributions can vary across contexts as a result of shifting epistemic standards. According to Keith DeRose, the “chief bugaboo of contextualism has been the concern that the contextualist is mistaking variability in the conditions of..

II. Introduction A. The following claims are individually plausible: 1. Skepticism is philosophically significant. 2. Skepticism is philosophically significant only if there is some skeptical argument that is bound to reveal something about either the scope or..

C. Theses: 1. Content Externalism strictly implies the possibility of acquiring a new concept as the result of an unwitting switch of environments. 2. This intuitively compels us to accept the possibility of someone possessing a concept without being aware that she does. 3. This possibility strictly favors causal models of meta-cognition over constitution models. 4. The possibility of possessing a concept unawares suggests that the contents of metacognitive.

I. Pryor on McKinsey: " A. Pryor’s Version of McKinsey-style Reasoning 1. Given authoritative self-knowledge, I can usually tell the contents of my own thoughts just by introspection. So I can know the following claim on the basis of reflection alone: " McK-1: I am thinking a thought with the content _water puts out fires_.

Sub-Thesis 1: We should be contingent reliabilists to avoid the threat of an unacceptably strong content skeptical thesis posed by content externalism and the possibility of twin thoughts. The predominant strategy for resisting this threat has been to rely on the claim that introspective self-attributions are immune to brute error; but this claim is problematic from a naturalistic standpoint.

A. First-Person Authority and the Temptation to Dualism 1. Our knowledge of our own minds seems to be radically different from (and better than) our knowledge of the external world. 2. It is tempting to infer that the objects/facts known must be radically different.

Preventing War and Promoting Peace: A Guide for Health Professionals is an interdisciplinary study of how pervasive militarism creates a propensity for war through the influence of academia, economic policy, the defense industry, and the news media. Comprising contributions by academics and practitioners from the fields of public health, medicine, nursing, law, sociology, psychology, political science, and peace and conflict studies, as well as representatives from organizations active in war prevention, the book emphasizes the underlying preventable causes of war, particularly (...) militarism, and focuses on the methods health professionals can use to prevent war. Preventing War and Promoting Peace provides hard-hitting facts about the devastating health effects of war and a broad perspective on war and health, presenting a new paradigm for the proactive engagement of health professions in the prevention of war and the promotion of peace. (shrink)

Erratum to: Health Care Anal DOI 10.1007/s10728-013-0244-5In the original version of this paper, unfortunately, there happened to be a mistake in the paragraph “Several studies have compared health…better results or lower costs [7].” under the section “Health Care is NOT a Right?”The incorrect sentence is: For example, hip and knee replacements are not performed on Canadian and UK citizens after 77 .The correct sentence is: For example, hip and knee replacements in Canada and the UK are prioritized by age such (...) that older citizens are on a long waiting list. (shrink)

A substantial body of evidence suggests that autobiographical recollection and simulation of future happenings activate a shared neural network. Many of the neural regions implicated in this network are affected in patients with bipolar disorder , showing altered metabolic functioning and/or structural volume abnormalities. Studies of autobiographical recall in BD reveal overgeneralization, where autobiographical memory comprises primarily factual or repeated information as opposed to details specific in time and in place and definitive of re-experiencing. To date, no study has examined (...) whether these deficits extend to future event simulation. We examined the ability of patients with BD and controls to imagine positive, negative and neutral future events using a modified version of the Autobiographical Interview that allowed for separation of episodic and non-episodic details. Patients were selectively impaired in imagining future positive, negative, and neutral episodic details; simulation of non-episodic details was equivalent across groups. (shrink)

In periods of social crisis, policymakers become particularly vulnerable to interest groups mobilizing to compete for scarce funds. At this point, legislators are no longer able to address the specific needs of their primary constituency directly, but rather are forced to do so in pretext only. New, unfamiliar technologies provide ample ammunition for astute interest groups to take advantage of times of economic turmoil and maneuver for policy support through dramatic campaigns of “salesmanship.” By publicizing a crisis situation, dramatizing it (...) effectively, and advertising an innovation as the solution to the crisis, legislators may be effectively persuaded to give priority to interest group pressures above and beyond those of the local constituency. Iowa's attempts to address the farm crisis through economic development strategies relying on biotechnology is examined in this paper. The results of extensive surveys of Iowa's legislators and farmers are examined and the consequences for Iowa's policy process of using biotechnology under the auspices of economic development are discussed. (shrink)

My study of Mary Shelley and father includes her husband because Percy Shelley’s obsessions with patriarchy, with “ ‘GOD, AND KIND, AND LAW,’ ” influenced profoundly Mary’s* art and life. Percy’s idealizations of father in The Revolt of Islam and Prince Athanase indicated ways or resolving familial antagonisms which Mary adopted and developed her later fiction. Percy’s relationship with Frankenstein is still more intricate. Recognizing that her husband’s obsessions with father and self-creation were contributing to the deterioration of (...) their marriage, Mary represents these obsessions in Victor Frankenstein—partly to vent in art the anger which would have further damaged the marriage, and party to show Percy before it was too late the errors of his ways. It was too late. Percy responded to Frankenstein in Prometheus Unbound and The Cenci with a reaffirmation of sonship which has been largely unrecognized by scholars.Father looms so large for both Mary and Percy Shelley that no one critical approach can account for him fully. At their most idealistic—and thus most traditional—the Shelleys encourage a critical methodology which integrates the traditional disciplines of biographical and close textual analyses. By taking this approach to Mary’s later fiction and to Percy’s The Revolt of Islam, I can not only confirm the prominence of father for the Shelleys but also establish the ideal against which their most subversive and important art was created. Reading this indirect, overdetermined art in light of the negative Oedipus will help answer important questions about Frankenstein, Prometheus Unbound, and The Cenci and will, I hop, add to our understanding of the vexed role of father in the Romantic period and in subsequent generations whose children we are. William Veeder, professor of English at the University of Chicago, has published books on Yeats, Henry James, and Victorian feminism. His Mary Shelley and “Frankenstein”: The Fate of Androgyny will appear in December 1985. The Art of Criticism: Henry James on the Theory and the Practice of Fiction, coedited with Susan M. Griffin, and Dr. Jekyll and Mr. Hyde: The Centenary, a collection of new essays on Stevenson’s novel, are also forthcoming . He is currently at work on The Serpent’s Tale: Anglo-American Gothic Fiction, 1885-1914. (shrink)

This is the second of the four essays in Part II of the book on liberalism and traditionalist education; all four are by authors who would like to find ways for the liberal state to honour the self-definitions of traditional cultures and to find ways of avoiding a confrontation with differences. Melissa Williams examines citizenship as identity in relation to the project of nation-building, the shifting boundaries of citizenship in relation to globalization, citizenship as shared fate, and the role of (...) multicultural education within the view of citizenship-as-shared-fate. She argues the other side of the same coin to that presented by Shelley Burtt in the previous chapter: according to Williams, the liberal state often demands too much in the way of loyalty from traditional groups, and when it does, it runs a strong risk of becoming oppressive and illiberal. Moreover, she holds that there is no need for a single shared identity among citizens of the liberal state. Her conception of people tied together by a shared fate is to this extent compatible with Burtt’s attempt to make liberalism’s commitment to autonomy more hospitable to groups of individuals encumbered by unchosen attachments, but her notion of citizenship as shared fate also goes further than that, and possibly stands in some tension with, Burtt’s view, since it allows and even encourages people to develop primary affiliation to all kind of groups – traditional as well as global. (shrink)

In this new installation of his work, William E. Connolly examines entanglements between volatile earth processes and emerging cultural practices. He highlights relays between extractive capitalism, self-amplifying climate processes, migrations, democratic aspirations, and fascist dangers. In three interwoven essays, Connolly takes up thinkers in the "minor tradition" of European thought who, unlike Cartesians and Kantians, cross divisions between nature and culture. He first offers readings of Sophocles and Mary Shelley, asking whether close attention to the Anthropocene could perhaps (...) have arrived earlier had later humanists absorbed their lessons. He then joins Deleuze and Guattari's notion of an abstract machine with contemporary earth sciences, doing so to compare the Antique Little Ice Age in late Rome to relays today between extractive capitalism and accelerating climate processes. The final essay stages a dialogue between Alfred North Whitehead and Michel Foucault about the pursuit of truth during a time of planetary turbulence. With _Climate Machines, Fascist Drives, and Truth_, Connolly forges incisive interventions into key issues of our time. (shrink)

This book investigates intersections between the philosophy of nature and Hellenism in British and German Romanticism, focusing primarily on five central literary/philosophical figures: Friedrich Schelling, Friedrich Hölderlin, Johann Wolfgang von Goethe, Percy Shelley, and Lord Byron. Near the end of the eighteenth century, poets and thinkers reinvented Greece as a site of aesthetic and ontological wholeness, a move that corresponded with a refiguring of nature as a dynamically interconnected web in which each part is linked to the living whole. (...) This vision of a vibrant materiality that allows us to become “one with all that lives,” along with a Romantic version of Hellenism that wished to reassemble the broken fragments of an imaginary Greece as both site and symbol of this all-unity, functioned as a two-pronged response to subjective anxiety that arose in the wake of Kant and Fichte. The result is a form of resistance to an idealism that appeared to leave little room for a world of beauty, love, and nature beyond the self. (shrink)

David Hume's relatively short essay 'Of the Standard of Taste' deals with some of the most difficult issues in aesthetic theory. Apart from giving a few pregnant remarks, near the end of his discussion, on the role of morality in aesthetic evaluation, Hume tries to reconcile the idea that tastes are subjective (in the sense of not being answerable to the facts) with the idea that some objects of taste are better than others. 'Tastes', in this context, are the pleasures (...) or displeasures that a person can take in the beauties of poems, paintings, and other artistic compositions (though Hume also wants to stress the continuities between tastes, so understood, and the bodily sense of taste). The position at which Hume arrives in the essay (despite some dialectical unclarity) is that some people – the 'true judges'– determine by their 'joint verdict' which works are meritorious. This solution continues to exercise a fascination, as does Hume's complicated route to it. Author Recommends: Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. This paper places 'Of the Standard of Taste' in an especially rich context, and asks why Hume concentrates on true judges instead of the improvement of one's own taste. Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon Press, 1984), 177–208. This chapter, embedded in an exposition of Mothersill's 'First Thesis' (the denial that there are principles of taste) and 'Second Thesis' (the affirmation that some judgments of taste are genuine judgments), gives a detailed running commentary on Hume's essay. A shorter self-contained version of the chapter appeared as 'Hume and the Paradox of Taste' in Aesthetics: A Critical Anthology , 2nd ed., eds. George Dickie, Richard Sclafani, and Ronald Roblin (New York, NY: St. Martin's Press, 1989, 269–86). Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. An importance recent article, Levinson's piece argues that the 'real' difficulty with Hume's essay has gone unnoticed: why should I care about what Hume's true judges think? Christopher Williams, 'Some Questions in Hume's Aesthetics', Philosophy Compass 2/2 (2007). This article provides a brief overview of the topics discussed under weeks 3–5 in the sample syllabus below. It is intended to provide a roadmap for the particular set of readings listed there. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. This is a stimulating paper in moral philosophy that treats Hume's essay on taste as a model for a serious subjectivism. Wiggins then presents his own brand of subjectivism as an alternative to Hume's. Online Materials: Hume's Aesthetics (Ted Gracyk): http://plato.stanford.edu/entries/hume-aesthetics/ Sample Syllabus: Recommended background reading on Hume's historical context: Peter Kivy, The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics , 2nd ed. (Oxford: Oxford University Press, 2003), especially Part III. Recommended background reading on the general topic of taste: David A. Whewell, 'Taste', Blackwell Companion to Aesthetics (Oxford: Blackwell, 1992), 415–18. Dabney Townsend and Carolyn Korsmeyer, 'Taste', Encyclopedia of Aesthetics , ed. Michael Kelly (New York, NY and Oxford: Oxford University Press, 1998), 4:355–62. Ted Cohen, 'The Philosophy of Taste: Thoughts on the Idea', Blackwell Guide to Aesthetics , ed. Peter Kivy (Oxford: Blackwell, 2004), 167–73. Week 1: Hume on beauty, art, and aesthetic judgment in the Treatise of Human Nature and the Enquiry Concerning the Principles of Morals The following references are usable for any complete edition of the Treatise or Enquiry Treatise , 2.1.8 ('Of Beauty and Deformity') Treatise , 2.2.5 ('Of Our Esteem for the Rich and Powerful') Treatise , 2.2.8 ('Of Malice and Envy'), final three paragraphs Treatise , 2.2.11 ('Of the Amorous Passion, or Love Betwixt the Sexes') Treatise , 3.1.2 ('Moral Distinctions Deriv'd from a Moral Sense') Treatise , 3.3.1 ('Of the Origin of the Natural Virtues') Treatise , 3.3.5 ('Some Farther Reflexions Concerning the Natural Virtues') Enquiry , Appendix 1 ('Of moral sentiment') Week 2: Hume's essays Essays Moral, Political, and Literary , ed. Eugene Miller (Indianapolis, IN: LibertyClassics, 1985) is the most commonly used edition today. 'Of the Delicacy of Taste and Passion' 'Of Eloquence' 'Of the Rise and Progress of the Arts and Sciences' 'Of Simplicity and Refinement in Writing' 'Of Tragedy' 'Of the Standard of Taste' Week 3: Circularity–Virtuous or Vicious? Peter Kivy, 'Hume's Standard of Taste: Breaking the Circle', British Journal of Aesthetics (1967): 57–66. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. Week 4: Rules of Art Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon, 1984), 177–208. James Shelley, 'Hume's Double Standard of Taste', Journal of Aesthetics and Art Criticism (1994): 437–45. Nick Zangwill, 'Hume, Taste, and Teleology', The Metaphysics of Beauty (Ithaca, NY: Cornell University Press, 2001), 149–65. Week 5: The True Judge Malcolm Budd, 'Hume and Kant', 'Hume's Standard of Taste', 'Hume and Human Nature', Values of Art (London: Allen Lane, 1995), 16–24 . Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. Week 6: Moralism in Aesthetic Judgment: Hume and Beyond Kendall Walton, 'Morals in Fiction and Fictional Morality', Proceedings of the Aristotelian Society (1994): 27–50. Richard Moran, 'The Expression of Feeling in Imagination', Philosophical Review (1994): 75–106. Tamar Szabo-Gendler, 'The Puzzle of Imaginative Resistance', Journal of Philosophy (2000): 55–81. Focus Questions 1. How does Hume distinguish between matters of 'fact' and 'sentiment'? 2. What is a 'rule of art', and are there any rules? 3. Can a bad critic be 'silenced'? 4. What are the characteristics of good critics? 5. Should we expect good critics to agree on the merits of a work, and should I care about becoming a good critic myself? 6. Is it possible to distinguish variations in taste for which we should expect a standard and variations for which it is 'vain' to have such an expectation? 7. How is the excellence of a work related to the exercise of taste? 8. If a work of literature has a moral outlook that differs from our own, should we consider the work defective on literary grounds? (shrink)

"Now we can join Gandhi and Tolstoy and nameless others who encountered this vigorous and invigorating book. Welcome to a company of radicals who believed we could and should stop eating non-human animals. They brought vegetarianism out of history and into the here and now." -- from the introductionEthical vegetarianism is no recent development, as this unrivaled historical anthology dramatizes. When it was first published 120 years ago, countless people read and endorsed The Ethics of Diet. But then it became (...) a rare book, hard to find even in libraries. For countless more readers, it is at last available again. In this classic of vegetarian writing, Howard Williams presents a line of thought, a continuous thread, a tradition, a catena of protestation against living on "Butchery." What he finds striking is the variety of the witnesses, the prophets of "Reformed Dietetics" who have "shrunk from the rgime of blood," including Gautama Buddha, Pythagoras, Plato, Hesiod, Epicurus, Seneca, Ovid, Thomas More, Montaigne, Mandeville, Pope, Voltaire, Swedenborg, Wesley, Rousseau, Shelley, Byron, Lamar-tine, Michelet, Bentham, Sinclair, Schopenhauer, and Thoreau. Their words are accompanied by the vigorous narrative voice of Williams himself, who put to rest, once and for all, the idea that vegetarianism is a fad. (shrink)

To show how the case of Mary Shelley’s Victor Frankenstein brings light to the ethical and moral issues raised in Institutional Review Board protocols, we nest an imaginary IRB proposal dated August 1790 by Victor Frankenstein within a discussion of the importance and function of the IRB. Considering the world of science as would have appeared in 1790 when Victor was a student at Ingolstadt, we offer a schematic overview of a fecund moment when advances in comparative anatomy, medical (...) experimentation and theories of life involving animalcules and animal electricity sparked intensive debates about the basic principles of life and the relationship between body and soul. Constructing an IRB application based upon myriad speculations circulating up to 1790, we imagine how Victor would have drawn upon his contemporaries’ scientific work to justify the feasibility of his project, as well as how he might have outlined the ethical implications of his plan to animate life from “dead” tissues. In Mary Shelley’s Frankenstein, Victor failed to consider his creature’s autonomy, vulnerability, and welfare. In this IRB proposal, we show Victor facing those issues of justice and emphasize how the novel can be an important component in courses or workshops on research ethics. Had Victor Frankenstein had to submit an IRB proposal tragedy may have been averted, for he would have been compelled to consider the consequences of his experiment and acknowledge, if not fulfill, his concomitant responsibilities to the creature that he abandoned and left to fend for itself. (shrink)

Sir William Drummond (1770?-1828) enjoyed considerable notoriety in the early nineteenth century as the author of the Academical Questions (1805), a manifesto for immaterialism that is at the same time a creative synthesis of ancient and modern forms of scepticism. In this paper I advance an interpretation of Drummond's work that emphasises his extensive employment and adaptation of Hume's own ‘Academical or Sceptical Philosophy’. I also document the impact of the Academical Questions on the contemporary philosophical scene, including its (...) decisive influence on Shelley's philosophical development. (shrink)

Poetry appears in veils but is not concealed. The subjects of poetry are "clothed in its Elysian light" not to serve the vanity of poets but to make visible a measure of their inspiration.1 This claim, central to Percy Shelley's Defence of Poetry, finds few sympathetic ears. The metaphor of poetry's dress suggests to some that poets engage in obfuscation, if not reckless cover-up. William Hazlitt says as much in an 1824 review of Shelley's Posthumous Poems: "His (...) Muse offers her services to clothe shadowy doubts and inscrutable difficulties in a robe of glittering words, and to turn nature into a brilliant paradox. … Where we see the dazzling beacon-lights streaming over the darkness of the abyss, we dread the... (shrink)

In this paper I argue that content externalism does not imply a form of content skepticism. In particular, I defend content externalism against William Larkin's argument that it engenders a form of content skepticism.

William Lyons presents an original thesis on introspection as self-interpretation in terms of a culturally influenced model. His work rests on a lucid, careful, and critical examination of the transformations that have occurred over the past century in the concepts and models of introspection in philosophy and psychology. He reviews the history of introspection in the work of Wundt, Boring, and William James, and reactions to it by behaviorists Watson, Lashley, Ryle, and Skinner.

In this book, William Lycan reviews the diverse philosophical views on consciousness--including those of Kripke, Block, Campbell, Sellars, and Casteneda--and ..

It is in the context of this auditory imagination that I wish to discuss the language of Ted Hughes, Geoffrey Hill, and Philip Larkin. All of them return to an origin and bring something back, all three live off the hump of the English poetic achievement, all three, here and now, in England, imply a continuity with another England, there and then. All three are hoarders and shorers of what they take to be the real England. All three treat (...) England as a region—or rather treat their region as England—in different and complementary ways. I believe they are afflicted with a sense of history that was once the peculiar affliction of the poets of other nations who were not themselves natives of England but who spoke the English language. The poets of the mother culture, I feel, are now possessed of that defensive love of their territory which was once shared only by those poets whom we might call colonial—Yeats, MacDiarmid, Carlos Williams. They are aware of their Englishness as deposits in the descending storeys of the literary and historical past. Their very terrain is becoming consciously precious. A desire to preserve indigenous traditions, to keep open the imagination's supply lines to the past, to receive from the stations of Anglo-Saxon confirmations of ancestry, to perceive in the rituals of show Saturdays and race-meetings and seaside outings, of church-going and marriages at Whitsun, and in the necessities that crave expression after the ritual of church-going has passed away, to perceive in these a continuity of communal ways, and a confirmation of an identity which is threatened—all this is signified by their language. Seamus Heaney, recognized today as one of Ireland's leading poets, has received numerous honors, among them the E. C. Gregory Award, the Cholmondeley Award, the Irish Academy of Letters Award, the Denis Devlin Award, and the American Academy of Arts and Sciences E. M. Forster Award. His published poems have been collected in four volumes: Death of a Naturalist , Door in the Dark , Wintering Out , and North . In another form this essay was delivered as the Beckham Lecture at Berkeley in the spring of 1976. He has also contributed to the Summer 1981 issue on “Current Unstated Assumptions about Poetry” for Critical Inquiry. (shrink)

This symposium represents the first major foray of the Journal of Bioethical Inquiry into what may well become one of its significant strands of scholarship. The JBI has always encouraged critical and marginal areas of bioethics scholarship and particularly those which make use of contemporary continental philosophy and cultural theory in addition to traditional analytic methods. For that reason this symposium is an expression of a “natural fit” or a “match made in heaven” (or at least the Platonic version of (...) that idea). The authors span times and sites in history and culture, from ancient Greece to present day Brisbane. They draw on a variety of literary genres and figures, ranging from Greek tragedy to an epic Chinese novel; from Jane Austen to William Styron, a major American novelist and essayist; from the modern English science fiction of Kazuo Ishiguro, a Japanese expatriate in London, to the 20th-century English poetry of Philip Larkin. The symposium also engages with some recur. (shrink)

My education in political poetry begins with William Blake’s remark about John Milton in The Marriage of Heaven and Hell: “The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil’s party without knowing it.”1 The statement is usually taken as a charming misreading of Milton or as some sort of hyperbole. We find it lumped with other readings (...) which supposedly view Satan as the hero of Paradise Lost, such as Percy Bysshe Shelley’s in A Defence of Poetry, although neither Blake nor Shelley says anything of the kind.2I consider Blake’s statement simply accurate. I think it the best single thing anybody has ever said about Paradise Lost. If not clear as a bell, then at least as compressed as diamonds. The insouciant opening gesture takes for granted what to Blake is obvious” that the poetry qua poetry is better, more exciting, more energetic in the sections dominated by Stan, worse, duller, less poetic in the sections dominated by God. As a lover of poetry Blake has evidently struck a perplexity. Why does Milton’s Satan excite me and this God bore me even though he plainly intends me to adore God and scorn Satan? The answer could have been that Milton “wrote in fetters” where constrained by theology and the danger of lapsing into inadvertent sacrilege, but “at liberty” otherwise. Other critics have claimed that it is impossible to make God talk successfully in a poem, but the Book of Job is enough to refute that position. Why did Milton choose to make God talk at all? Dante cleverly avoided that difficulty.The second half of Blake’s sentence not only solves the Paradise Lost problem but proposes a radical view of all poetry which might be summarized as follows: All art depends on opposition between God and the devil, reason and energy. The true poet is necessarily the partisan of energy, rebellion, and desire, and is opposed to passivity, obedience, and the authority of reason, laws, and institutions. To be a poet requires energy; energetic subjects make the best material for poems; the truer the poetry, the more it will embody the truths of Desire. But the poet need not think so. He can be of the devil’s party without knowing it. 1. William Blake, “The Marriage of Heaven and Hell,” Complete Poems, ed. Alicia Ostriker , p. 182.2. Let one instance serve: Marjorie Hope Nicolson wonders whether the members of the “‘Satanic School’ of Milton criticism” have read past books 1 and 2 of Paradise Lost . Alicia Ostriker, professor of English as Rutgers University, is the author of Stealing the Language: The Emergence of Women’s Poetry in America. Her most recent book of poetry is Imaginary Lover. (shrink)

A Persian translation of William Shakespeare's Hamlet along with the original text.

In this book William G. Lycan offers an epistemology of philosophy itself, a partial method for philosophical inquiry. The epistemology features three ultimate sources of justified philosophical belief. First, common sense, in a carefully restricted sense of the term-the sorts of contingentpropositions Moore defended against idealists and skeptics. Second, the deliverances of well confirmed science. Third and more fundamentally, intuitions about cases in a carefully specified sense of that term. The first half of On Evidence in Philosophy expounds a (...) version of Moore's method and applies it to each of several issues. This version is shown to resist all the standard objections to Moore; most of them do not even apply. It is argued, in Chapters 5 and 6, that philosophical method is far lesspowerful than most have taken it to be. In particular, deductive argument can accomplish very little, and hardly ever is an opposing position refuted except by common sense or by science. The final two chapters defend the evidential status of intuitions and the Goodmanian method of reflectiveequilibrium; it is argued that philosophy always and everywhere depends on them. The method is then set within a more general explanatory-coherentist epistemology, which is shown to resist standard forms of skepticism.In sum, William G. Lycan advocates a picture of philosophy as a very wide explanatory reflective equilibrium incorporating common sense, science, and our firmest intuitions on any topic-and nothing more, not ever. (shrink)

Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker (...) are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries. (shrink)