As a retired professor, I join in the growing concerns among educators, and others, about plagiarism, especially now that AI tools like ChatGPT are so readily available. However, I feel more caution is needed, regarding temptations to rely on supposed automatic detection tools, like Turnitin, to solve the problems. Students can be unfairly accused if such tools are used unreflectingly. The Toronto Star's online version of this published Op Ed is available at the link shown below. The version attached here (...) is a pre-print, which also includes annotations for my references, which are not displayed in the published version. (shrink)

Science is fundamentally devoted to generating original knowledge, and therefore concepts of scientific originality are keys to understanding its very essence. Scientific originality has long been thought of as discovery, but new studies of the humanities and social sciences have shown that other, discipline-specific concepts of originality are used in these fields of study. Does this finding also hold for disciplines in the natural science, medicine, and engineering? Are concepts of originality scientifically grounded or do they (...) instead reflect extrascientific modes of originality? These questions lie at the heart of research proposals responding to an initiative explicitly calling for original scientific projects. The proposals undergo a two-step analysis based on grounded theory[Per style, reference citation is not allowed in abstract section. Hence, we have deleted Charmaz, 2006. Please approve.]. First, three empirically identified modes of scientific originality are described: temporal, partially different, and revolutionary. The three modes of originality are consistent with extrascientific ones such as those in art and fashion. Second, six disciplines—two each in the natural science, medical, and engineering—are analyzed for ways the three modes of originality are used and for their associated disciplinary characteristics in order to identify discipline-specific concepts of originality. (shrink)

This chapter examines the apparent proximity between Schopenhauer’s and Freud’s views on the nature and importance of what is called, amongst other things, ‘sexuality’, the ‘sexual impulse’, the ‘sexual instinct’ or ‘the ‘sexual drive’. It argues, against the idea that Freud's conception is basically borrowed from Schopenhauer, for the originality of Freud’s early theory of sexuality and suggest that the significance of this theory, apart from its obvious psychiatric and social import, lies in its possible contribution to a philosophical (...) anthropology. The chapter returns to the first, 1905 edition of the Three Essays on the Theory of Sexuality to argue for the originality of Freud’s conception of the sexual drive, in relation to both his philosophical and his psychiatric predecessors. It argues that Freud’s terminological shift in the Three Essays from the Geschlechtstrieb to the Sexualtrieb, both of which Strachey translates as ‘sexual instinct’ is evidence of a theoretical shift. Examining the notion of the Geschlechtstrieb in Freud’s predecessors and its relation to presumptions about the difference between the sexes allows the distinctiveness of Freud’s conception of the Sexualtrieb and thus his theory of sexuality to stand out. After examining the claims in the literature concerning the relation between Schopenhauer and Kant on the question of sexuality, it lays out the conception of the Geschlechtstrieb in Freud’s immediate psychiatric predecessors and its connection to the treatment of the same topic in Kant, Schopenhauer and Hartmann. It then demonstrates, with reference to Freud’s shift to the use of the term Sexualtrieb, how Freud develops a conception of the sexual drive and of sexuality that is quite different to the conception of the Geschlechtstrieb in Schopenhauer et al. The chapter ends by suggesting how Freud’s theory of sexuality is a contribution to a philosophical anthropology based on considerations quite foreign to his predecessors. (shrink)

The twenty-first century has brought a renewed interest in democratic theory and practices, creating a complicated relationship between time-honoured democratic traditions and new forms of political participation. Reflecting on this interplay between tradition and innovation, Aletta J. Norval offers fresh insights into the global complexities of the formation of democratic subjectivity, the difficult emergence and articulation of political claims, the constitution of democratic relations between citizens and the deepening of our democratic imagination. Aversive Democracy draws inspiration from a critical engagement (...) with deliberative and post-structuralist models of democracy, whilst offering a distinctive reading inspired by contemporary work on the later Wittgenstein. This is a creative and insightful work which reorients democratic theory, elucidating the character of the commitments we engage in when we participate in democratic life together. (shrink)

We examine the criticisms and subsequent changes that arise in the course of peer review. Fifty-two scholars who had recently published in Administrative Science Quarterly were surveyed regarding their peer review experience and how their article changed from initial journal submission to eventual publication. Papers that challenged theoretical perspectives faced distinctively high levels of criticism and change, particularly with attention to methodology, while those that offered a new perspective or that extended or combined established perspectives were less criticized and changed. (...) The number of challenge-oriented publications was small as well, suggesting that either few such submissions survive the review process or few are submitted in the first place. Overall, peer review appears open to expansion of the variety of theoretical argument but does little to aid in the winnowing out of established perspectives. (shrink)

That the palliatae of Plautus and Terence, besides purporting to depict Greek life, were in general adaptations of Greek plays has always been known. Statements in the prologues of the Latin plays and by other ancient authors left no room for doubt about this, while allowing the possibility of some exceptions. The question of the relationship of the Latin plays to their Greek models was first seriously addressed in the nineteenth century, mainly by German scholars, under the stimulus of Romantic (...) criticism which attached paramount importance to originality in art. Since then the question has been constantly debated, often with acrimony, and to this day very different answers to it continue to be given. Yet the question is obviously important, both for those who would measure the artistic achievement of the Latin dramatists and for those who would use the plays to document aspects of Greek or Roman life. It is not disputed that Plautus' plays contain many Roman allusions and Latin puns which cannot have been derived from any Greek model and must be attributed to the Roman adapter. What is disputed is whether this overt Romanization is merely a superficial veneer overlaid on fundamentally Greek structures or whether Plautus made more radical changes to the structure as well as the spirit of his models. (shrink)

The purpose of this article is to explain the relationship between Life-world (Lebenswelt) and the concepts of Originality (Originalität) and Primordiality (Primordialität) founded in Edmund Husserl’s philosophy developed in the 20’s. In order to achieve this goal, we need to begin with a transcendental phenomenological analysis to then gain access to Ontology of the World in general. Therefore, we must explain how Transcendental Philosophy relates to Transcendental Aesthetics and how it phenomenologically labels all that is outside of theory and (...) reflection (i.e., the Natural World) as a precondition to all theoretical classifications. This way the Life-world could explain the relationship between the Originality and Primordiality as proto-datum that is the base of all human acts genetically describable. (shrink)

In his post-critical philosophy, Polanyi challenges the intellectual trend in modern western philosophy which exalted critical reason and denigrated the uncritical elements of knowing, such as belief, tradion and authority. In this paper, the author focuses on Polanyi’s thoughts on tradition, authority and originality in a post-critical perspective. On the one hand, Polanyi, against modern critical philosophy, fulluy acknowledges the important role played by tradition and authority in science, on the other hand, he also tries to show the tension (...) and the deep unity between tradition, authority and originality. (shrink)

Lady Lovelace’s notes on Babbage’s Analytical Engine never refer to the concept of surprise. Having some pretension to ‘originate’ something—unlike the Analytical Engine—is neither necessary nor sufficient to being able to surprise someone. Turing nevertheless translates Lovelace’s ‘this machine is incapable of originating something’ in terms of a hypothetical ‘computers cannot take us by surprise’ objection to the idea that machines may be deemed capable of thinking. To understand the contemporary significance of what is missed in Turing’s ‘surprise’ translation of (...) Lovelace’s insight, one needs to distinguish between trivial surprises and those events, propositions or encounters that lead us to question our understanding of ourselves or what surrounds us. Only some of these non-trivial surprises are the product of originality endeavours. Not only is it uncommon for surprises to track such endeavours, the type of autonomy that would be required on the part of ‘digital computers’ for originality and surprise to intersect in that way goes far beyond the operational autonomy that can be achieved by ‘learning machines’. This paper argues that a salient translation of Lovelace’s originality insight—for contemporary and future ‘learning machines’—is an upside-down version of Turing’s surprise question: can computers be surprised by us in a non-trivial, ‘co-produced’ way? (shrink)

O texto busca compreender e avaliar as influências das filosofias políticas de Rousseau e Kant no pensamento habermasiano. Ele se atém sobretudo à ideia fundamental de Direito e democracia, segundo a qual há uma cooriginariedade lógica entre direitos humanos, interpretados como direitos fundamentais de liberdade individual, e a soberania popular, interpretada como direitos políticos de participação e comunicação, no processo de formação pública da opinião e vontade. Defende-se que a crítica habermasiana a Rousseau e a Kant se deve ao projeto (...) de radicalização da democracia, para o qual as contribuições dos dois filósofos apresentam ainda alguns obstáculos. Porém, ao mesmo tempo, pode-se dizer que, segundo Habermas, a contribuição de um serve para sanar os problemas presentes na contribuição do outro. This text analyzes and evaluates the influence of the political philosophies of Rousseau and Kant in Habermasian thought. It stresses the fundamental idea of Faktizität und Geltung, according to which there is a logical co-originality of human rights, interpreted as fundamental rights of individual liberty, and popular sovereignty, understood as political rights of participation and communication in the process of public formation opinion and will. It is argued that Habermas' critique of Rousseau and Kant is due to Habermas' project of the radicalization of democracy, to which the contributions of the two philosophers present some obstacles. Nevertheless, it may be said that, according to Habermas, the contribution of each one serves to solve the problems in the contribution of the other. (shrink)

Book reviewed: Stephen Mulhall. Inheritance and Originality.

Brown examines the types of scene that exist, along with related concepts such as authenticity and the 'really' real. It also explores the effectiveness of scenes in spreading new actions and ideas, as welll as their role in both facilitating 'difference' and introducing originality and newness in modern society. Finally, the book deals with the fragility of scenes, why they can often become subsumed by normality and how this might be prevented.

This paper argues that Neil Walker’s analysis of the complementary relationship between democracy and constitutionalism remains one-sided. It focuses only on the incompleteness of democracy and the democracy-realizing function of constitutionalism rather than also taking into account the reverse complementary and constitution-realizing function of democracy. In this paper, I defend a fuller account that takes into account this mutual complementarity between democracy and constitutionalism. Such an alternative approach is consequential for Walker’s argument in two respects. In terms of the general (...) analysis of the relationship between democracy and constitutionalism, my adjusted approach leads to a defence of the Habermasian thesis of the co-originality of constitutionalism and democracy which is too quickly dismissed by Walker himself. A fuller appreciation of this co-originality suggests that the relationship between constitutionalism and democracy is perhaps, after all, more singularly complementary than Walker recognizes. In terms of the more specific analysis of the impact of globalization, this adjusted approach tilts the argument in favour of the critics of current practices of postnational constitutionalism. Without complementary postnational democratic structures, this constitutionalism remains problematic and potentially oppressive. (shrink)

What does it mean to think of philosophy in the condition of modernism, in which its relation to its past and future has become a relevant problem? This book argues that the writings of Wittgenstein, Heidegger, and Kierkegaard are best understood as responsive (each in their own way) to such questions. Through detailed analysis of these authors' most influential texts, Stephen Mulhall reorients our sense of the philosophical work each text aims to accomplish, engendering a critical dialogue between them from (...) which the elements of a new conception of philosophy might emerge. (shrink)

The richer you are, the less equally rich or richer people. The richest is only one (=unique). Maximization of richness or leisure (=classic utility), maximizes the uniqueness (=improbability) that can be maximized also by: extreme sport, suicide, tattoo, count of views... The richest seem unique as the poorest, but the rich can easily become poor, while the poor can hardly get rich. So the aim of maximization reflects IQ and options. Few options increase irrationality, regardless of IQ. I also present (...) the law of values' equality, Utility of Suicide, motivation to support the better, and overview the economics as such. Presented as PhD thesis at CERGE-EI, 2000, exhibited in Holland Park, W8 6LU, 2013, presented at conferences in Santorini 2016, Daejon 2016, Adelaide 2016. (shrink)

This paper explores possible reasons for the comparatively low estimation of the potential philosophical significance of Byzantine theological thought, which, in contemporary studies, is frequently viewed as lacking philosophical depth and originality. The ultimate question here, though, is whether we should grant that theology may, in fact, contain original and valuable philosophy. In order to subject the issues involved to scrutiny, I undertake an analysis of the important case of the legacy of John of Damascus, which, in my opinion, (...) actually furnishes some answers to these questions. (shrink)

In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” (...) and “genius,” thereby replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)