When in May 1930, the Council of Trinity College, Cambridge, had to decide whether to renew Wittgenstein's research grant, it turned to Bertrand Russell for an assessment of the work Wittgenstein had been doing over the past year. His verdict: "The theories contained in this new work... are novel, very original and indubitably important. Whether they are true, I do not know. As a logician who likes simplicity, I should like to think that they are not, but from what I (...) have read of them I am quite sure that he ought to have an opportunity to work them out, since, when completed, they may easily prove to constitute a whole new philosophy." "[Philosophical Remarks] contains the seeds of Wittgenstein's later philosophy of mind and of mathematics. Principally, he here discusses the role of indispensable in language, criticizing Russell's The Analysis of Mind. He modifies the Tractatus's picture theory of meaning by stressing that the connection between the proposition and reality is not found in the picture itself. He analyzes generality in and out of mathematics, and the notions of proof and experiment. He formulates a pain/private-language argument and discusses both behaviorism and the verifiability principle. The work is difficult but important, and it belongs in every philosophy collection."—Robert Hoffman, Philosophy "Any serious student of Wittgenstein's work will want to study his Philosophical Remarks as a transitional book between his two great masterpieces. The Remarks is thus indispensible for anyone who seeks a complete understanding of Wittgenstein's philosophy."—Leonard Linsky, American Philosophical Association. (shrink)

This bilingual volume—English and German on facing pages—brings together the writings Wittgenstein composed during his stay in Dublin between October 1948 and March 1949, one of his most fruitful periods. He later drew more than half of his remarks for Part II of Philosophical Investigations from this Dublin manuscript. A direct continuation of the writing that makes up the two volumes of Remarks on the Philosophy of Psychology, this collection offers scholars a glimpse of Wittgenstein's preliminary thinking on one of (...) his most important works. G. H. von Wright and Heikki Nyman both teach at the University of Helsinki. (shrink)

In the past decade, the notion of a neural correlate of consciousness has become a focal point for scientific research on consciousness. A growing number of investigators believe that the first step toward a science of consciousness is to discover the neural correlates of consciousness. Indeed, Francis Crick has gone so far as to proclaim that ‘we need to discover the neural correlates of consciousness. For this task the primate visual system seems especially attractive. No longer need one spend time (...) attempting to endure the tedium of philosophers perpetually disagreeing with each other. Consciousness is now largely a scientific problem’. Yet the question of what it means to be a neural correlate of consciousness is actually far from straightforward, for it involves fundamental empirical, methodological, and philosophical issues about the nature of consciousness and its relationship to the brain. Even if one assumes, as we do, that states of consciousness causally depend on states of the brain, one can nevertheless wonder in what sense there is, or could be, such a thing as a neural correlate of consciousness. (shrink)

The locus classicus for Plutarch's own views on his methods is in the Alexander He has begun by asking for the indulgence of his readers if they do not find all the exploits of Alexander and Caesar recounted by the biographer or if they discover him not reporting some famous incident in detail (); and he goes on to compare his own search for evidence which will indicate the kind of soul, with the activity of the painter, who, in order (...) to create a likeness, concentrates on the eyes and pays little attention to the other parts. Commentators and critics have been right to take this as a key text for the purpose of understanding Plutarch's attitude towards his biographical work; nevertheless there are other passages in the Lives where we can at least glimpse his attitude to his subject, and we can only see the Alexander-remarks in correct perspective if we take these other passages into account. I propose therefore, starting with the Alexander, to see how far these critical remarks apply to Plutarch's theory and practice elsewhere in the Lives. (shrink)

According to the Ars Amatoria the notorious rape took place on the occasion of a primitive dramatic entertainment staged in a theatre, in which the seats and furnishings were also primitive. There is no time for a description of the arts of the performers—a tibicen and a ludius—before the Romans, impatient for action, receive their signal from Romulus. Nor is there any mention of a god in whose honour the entertainment had been provided.

We introduce a multimodal logic for order of magnitude reasoning which considers a new logic-based alternative to the notion of closeness, we provide an axiom system and prove its soundness and completeness.

Modern scholars have been concerned with the hostility shown to Alexander by the Hellenistic schools of philosophy. Two literary portraits have been distinguished, the Peripatetic and the Stoic, the former deriving from Theophrastus' book on Callisthenes, or starting with this work the Peripatetics worked out a theory of and applied it to Alexander, in order to belittle his achievements. It was a case of giving sophisticated expression to the kind of crude resentment expressed by Demades.

Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has had (...) its day. For many listeners, however, works within this tradition possess a distinctive ability to embody musical movement and expression. This paper examines Roger Scruton's defense of tonality as developed in the European common practice period. I examine his reasons for supposing that tonality is an ineliminable feature of sounds heard and understood as music. Those reasons, I conclude, are inconclusive; on their own they do not show that tonality either will or should persist as an authoritative musical order. Triadic tonality has, at best, an uncertain future. (shrink)

Epitome V (1621), and consisted of matching an element of area to an element of time, where each was mathematically determined. His treatment of the area depended solely on the geometry of Euclid's Elements, involving only straight-line and circle propositions – so we have to account for his deliberate avoidance of the sophisticated conic-geometry associated with Apollonius. We show also how his proof could have been made watertight according to modern standards, using methods that lay entirely within his power. The (...) greatest innovation, however, occurred in Kepler's fresh formulation of the measure of time. We trace this concept in relation to early astronomy and conclude that Kepler's treatment unexpectedly entailed the assumption that time varied nonuniformly; meanwhile, a geometrical measure provided the independent variable. Even more surprisingly, this approach turns out to be entirely sound when assessed in present-day terms. Kepler himself attributed the cause of the motion of a single planet around the Sun to a set of `physical' suppositions which represented his religious as well as his Copernican convictions; and we have pared to a minimum – down to four – the number he actually required to achieve this. In the Appendix we use modern mathematics to emphasize the simplicity, both geometrical and kinematical, that objectively characterizes the Sun-focused ellipse as an orbit. Meanwhile we highlight the subjective simplicity of Kepler's own techniques (most of them extremely traditional, some newly created). These two approaches complement each other to account for his success. (shrink)

This article attempts to map the broad ethical and legal contours of global child health realities. Its interest is in international duties to reduce disparities in the health of children. Specifically, it inquires into loci of collective rights and responsibilities in this context. Clarity on the sources of this responsibility and the nature of such rights will, it is hoped, contribute to enhanced and sustained action to attenuate these inequalities. A review and critique of the current topography of global health (...) ethics is followed by an analysis of international human rights law as it pertains to global health, with a particular focus on the legal dimensions of child health outcomes. Thus grounded, the article seeks to build conceptual synergies between public health ethics and human rights paradigms to underwrite collective action on global child health disparities. (shrink)

(No abstract is available for this citation).

What role does the wild duck play in Ibsen's famous drama? I argue that, besides mirroring the fate of the human cast members, the duck is acting as animal subject in a quasi-experiment, conducted in a private setting. Analysed from this perspective, the play allows us to discern the epistemological and ethical dimensions of the new scientific animal practice (systematic observation of animal behaviour under artificial conditions) emerging precesely at that time. Ibsen's play stages the clash between a scientific and (...) a romantic understanding of animals that still constitutes the backdrop of most contemporary debates over animals in research. Whereas the scientific understanding reduces the animal's behaviour, as well as its environment, to discrete and modifiable elements, the romantic view regards animals as being at one with (or violently disconnected from) their natural surroundings. (shrink)

This book provides an introduction to Plato’s work that gives a clear statement of what Plato has to say about the problems of thought and life. In particular, it tells the reader just what Plato says, and makes no attempt to force a system on the Platonic text or to trim Plato’s works to suit contemporary philosophical tastes. The author also gives an account that has historical fidelity - we cannot really understand the Republic or the Gorgias if we forget (...) that the Athens of the conversations is meant to be the Athens of Nicias or Cleon, not the very different Athens of Plato’s own manhood. To understand Plato’s thought we must see it in the right historical perspective. (shrink)