A estrutura das antinomias lógicas, redescobertas e reformuladas por Frege e Russell no começo do século XX, consiste num movimento circular que é, ao mesmo tempo, autoflexivo e negativo. Surge, aí, um perpétuo oscilar entre o Sim e o Não, em certos casos, entre verdade e falsidade. Os Lógicos resolvem o problema pela distinção de tipos ou níveis linguagem. Alguns filósofos - Kulenkampff, Kesselring, Wandschneider – pensam ter aí encontrado o mecanismo central que move a Dialética. Procura-se aqui mostrar que (...) estão, pelo menos em grande parte, equivocados. Dialética é algo bem mais simples e mais amplo. (shrink)

The existence of a Richter–Peleg multi-utility representation of a preorder by means of upper semicontinuous or continuous functions is discussed in connection with the existence of a Richter–Peleg utility representation. We give several applications that include the analysis of countable Richter–Peleg multi-utility representations.

In this paper we study collective identity functions that deal with formation of clubs. Usually the choice offered to individuals is to cast a vote in favor of qualification or not, and the final outcome is qualification or non-qualification. In this context we show that independent collective identity functions are naturally characterized by voting rules, and in particular, consent rules can be represented by one single collection of weighted majorities. In addition, we consider the extended model where voters are allowed (...) to abstain and we distinguish between disqualification and a neutral outcome. We show that this environment allows agents to act in different capacities that cannot be distinguished in the original formulation of the problem. (shrink)

Dialéticos e analíticos não se entendemporque falam línguas com sintaxes parcialmentediferentes. Não obstante esta diferença, hátrês princípios básicos que regem e estruturamtanto a lógica dialética como a lógica analítica: osprincípios de identidade, de diferença e de coerênciauniversal. Os mesmos três princípios regemtambém a natureza em seu processo de evoluçãoe constituem o indivíduo e a espécie,as mutações por acaso ea seleção natural.

Bioethics, Volume 35, Issue 7, Page 646-651, September 2021.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 42-71 [Access article in PDF] Narrative as Argument in Indian Philosophy: The Astavakra Gita as Multivalent Narrative Scott R. Stroud Department of Philosophy Temple University Indian philosophy has often been described as radically different in nature than Western philosophy due to its frequent use of narrative structure. By employing poetic elements in their use of language, such texts attempt to convey deep metaphysical (...) truths and philosophical positions about reality that are in many cases quite different from Western ideas (Babbili 1997). Often, these ways of conveying truths are an integral part of that truth. One particularly useful form is narrative, taking instantiations such as a dialogue between characters. Philosophical dialogues such as the Bhagavad Gita and the Astavakra Gita (also known as the Astavakra Samhita ) use a portrayed conversation involving a guru or deity to convey didactic lessons and values to the receptive audience, both ancient and modern. As texts such as the Bhagavad Gita gain in popularity and circulation in the Western world (Minor 1982; Paine 1998; Sharpe 1985), philosophical and rhetorical inquiry must be extended to explain how these texts function in an argumentative philosophical context.Stroud (2002a, 2002b) has advanced the idea that such ancient Indian narratives argue through the use of contradictions and conflicting value structures;1 he labels such texts as multivalent narratives since their use of contradictory value structures compel audience members to reconstruct the narrative's message and allow for the acceptance of novel views. Multivalent narratives are to be distinguished from polysemic narratives (Fiske 1986) in that the latter concern different audience members finding a preferred position from the ambiguous story. Polysemic narratives involve the difference in meaning of the same story to different auditors. Condit criticizes this notion of polysemic narratives and advances her own concept of polyvalent narratives. The concept of a polyvalent narrative involves different auditors understanding the same story in similar ways, but differing in how they evaluate its message. Condit's research with a popular television [End Page 42] show and two students from radically different backgrounds on abortion finds that they understood what occurred in a very similar fashion; they differed in that they "disagree[d] about the valuation of those denotations to such a degree that they produce[d] noticeably different interpretations" (1989, 106). Thus, the auditors differ as to their response to a certain story and how it treats their own cherished values. Stroud (2002a) provides a thorough justification as to why the concepts of polysemic and polyvalent narratives do not capture what can be called multivalent narratives. The important factor in distinguishing these three concepts is that the third involves contradictions at the level of values within a text and the reader's necessitated activity of trying to synthesize or reconcile such contradictions. It is this activity that is the hallmark of multivalent narratives.This employment of multivalent narrative offers a challenge to familiar Western conceptions of argumentative discourse and demands further investigation. This study explores the ways a particular text, the Astavakra Gita, argues its philosophical positions to its audience of potential "pupils."2 Using the insights provided by theories of narrative and reader-response theory, I will argue that this text advances its claims not through overt syllogism or validity claim redemption, but through textual indeterminacy between the audience's disposition and the foregrounded theme of non-individuation in the text. This tension, increased by certain textual devices, results in consistency building by the audience, which enables the transcendence of these two viewpoints (reader and text); it is this experience, not claim, that the Astavakra Gita seems to be advancing to any given audience.In order to explore this interpretation of this text and its argumentative relationship to an audience, insights from both literary studies and rhetorical theory must be used in laying a foundation. The work of Wolfgang Iser (1980, 1989, 1993) and Walter Fisher (1987) will assume roles of particular importance in this endeavor. Iser's theory of aesthetic response provides a useful description of the phenomenological process of reading such a... (shrink)

While Immanuel Kant is an epochal figure in a variety of fields, he has not figured prominently in the study of rhetoric and communication. This book represents the most detailed examination available into Kant's uneasy but often misunderstood relationship with rhetoric. By explicating Kant's complex understanding of rhetoric, this book advances the thesis that communicative practices play an important role in Kant's account of how we become better humans and how we create morally cultivating communities.

"Examines the relationship between art and morality discussed in the writings of American pragmatist John Dewey.

while many have explored the international reception of Dewey’s thought—for instance, by Hu Shih in the Chinese context—little has been said about the fate of pragmatism in India. Yet there is a line of discernable influence to Indian politics and civil rights movements in the person of Bhimrao Ambedkar. Ambedkar was a famous Indian statesman and anti-caste activist, but he was also a formidable intellectual and philosopher whose collected works span over twenty volumes. He also was highly educated in the (...) West, earning degrees from universities in America and England. Importantly for the fate of pragmatism in India, one of the academic mentors that made a significant impact on Ambedkar during his... (shrink)

Bhimrao Ambedkar is well-known as the architect of the Indian constitution, the document that created the world's largest democracy when it came into effect in 1950. Ambedkar is also famous, or infamous according to some religious partisans, in the Indian political context for his unflagging and often bombastic advocacy on behalf of India's so-called "untouchables." Being a Mahar, an untouchable caste in the Indian state of Maharashtra, Ambedkar knew of the struggles and the religiously underwritten violence that was foisted upon (...) these swaths of Indian society. His struggles in and against the caste system, and the Hindu religious-philosophical system that frequently enabled it, are well documented by... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Simulation, Subjective Knowledge, and the Cognitive Value of Literary NarrativeScott R. Stroud (bio)IntroductionLiterary narrative holds the power to move individuals to thought, reflection, action, and belief. According to a longstanding view of literature, it is this impact on the reader that leads to literary narrative being valued so highly in our culture and in others. What exactly is the value of literature? Humanists such as Peter Lamarque and (...) Stein Olsen1 argue for this value in terms of perennial themes that literature allows one to "grapple with," as opposed to cognitivist accounts that discuss the value of literary narrative in terms of conveyed truths or knowledge. One particularly important position that explains the cognitive value of literature can be labeled the "Subjective Knowledge Theory" (SKT). Such an account of literature places its value in the subjective perspectives or experiences the narrative opens up to the reader. Thus, one can gain knowledge of "what it is like" to be caught in the throes of jealousy, endangered by an opposing army, or captivated by the lure of magical prowess. Lamarque and Olsen, however, argue that SKT is fundamentally flawed in its analysis of knowledge derivable from the literary narrative and in terms of its account of literary practice.I wish to defend a version of SKT in this article. In order to do so, I make and defend the following claims. First, Lamarque and Olsen's critique of SKT relies on a conflation of two distinct types of knowledge—the knowledge provided by the simulated subjective experience and its appropriation/ generalization to forms useful for the reader's real life activities. I will argue that the former of these outcomes is due strictly to the aesthetic features of the literary narrative, whereas the second involves a non-necessary psychological reaction to the text (that is, judgments of the veracity or usefulness of the text for one's own purposes). By conflating both of these into the cognitive knowledge derivable from the text, Lamarque and Olsen's critique can [End Page 19] gain its purchase against SKT. If these two processes and the resultant sorts of knowledge are separated, then the SKT account does seem to show how literature holds value in itself and in relation to the reader's moral activities/ judgments. Second, the process of simulation is the primary means by which one can gain any type of subjective knowledge from a literary narrative. This type of knowledge will be gained by virtue of the literary narrative's aesthetic qualities, which result in a certain type of activity in the reader. Third, I will argue that the second sort of knowledge—that derived from the simulated subjective experience—results from the process of reader identification with the values, beliefs, and/or behaviors of the simulated agent. This sense of identification involves selective appropriation and generalization and will be shown not to be subject to the critiques of simple identification offered by Noël Carroll.2 It is at this stage that individuals learn what they believe they ought to value, how they ought to act, and what they should believe from their experience of simulation in reading the literary narrative. Notice that this knowledge is separate from the first sort of knowledge, which is knowledge of what it is like to experience x through y's eyes.As I elucidate and defend these claims, I hope it will become clear that this is an account that does justice to the value resident in literature and in the activities readers do after they partake in the aesthetic object of the literary narrative. Thus, I will conclude by showing how this account does not fall prey to the conflation that both critics and supporters of SKT commit in muddling the different types of knowledge available from and in relation to a literary narrative.Before I proceed, it is important that some basic concepts are clearly set forth. A narrative can be defined as any representation of two or more events over time. The number of events and the relationship among them can be as simple or complex as one likes, but the crucial aspect is that the representation supplies the... (shrink)

This collection of essays on themes in the work of John Locke , George Berkeley , and David Hume , provides a deepened understanding of major issues raised in the Empiricist tradition. In exploring their shared belief in the experiential nature of mental constructs, The Empiricists illuminates the different methodologies of these great Enlightenment philosophers and introduces students to important metaphysical and epistemological issues including the theory of ideas, personal identity, and skepticism. It will be especially useful in courses devoted (...) to the history of modern philosophy. (shrink)

Bhimrao Ambedkar is well known as the architect of independent India’s constitution, the document that created the world’s largest democracy on January 26, 1950. Ambedkar is also famous for his vigorous advocacy on behalf of India’s so-called “untouchables,” those groups of people that reside beneath and outside of the ancient system of hereditary castes in Hinduism. His activism and political efforts secured rights and respect for millions of lower-caste Indians before his death in 1956. Even though Ambedkar was an untouchable, (...) forbidden from learning the ancient language of Sanskrit, he managed to learn English in his early education... (shrink)

This study seeks to understand and critique the growing online trend of “revenge porn,” or the intentional embarrassment of identifiable individuals through the posting of nude images online. This posting of intimate pictures, often done out of motives of revenge for perceived relational scorn, is enhanced by the varying levels of online anonymity. Using the theoretical framework of John Dewey's pragmatism, this study both analyzes this understudied but complex new problem precipitated by the conditions of the online self and establishes (...) the groundwork for the use of pragmatist ethics in other areas of communication ethics. (shrink)

In this article, I argue that speech act theory can be altered to accommodate art objects as evocative illocutionary speech acts that areaimed toward reaching understanding. To do this, I discuss the example of Zen Buddhism’s use of the koan, an aesthetic object that can be seen as evoking a given experience from its auditors for the purpose of reaching understanding on a point that the teacher wishes to make. I argue that such a reading of art as evocative can (...) be merged with hypothetical intentionalism insofar as it recognizes a certain orientation on the part of the auditor to approach art in a certain way. In the case of koans and other artworks, the approach is one of considering what claim an author may want to convey through the auditor’s experience of the artwork. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 42-71 [Access article in PDF] Narrative as Argument in Indian Philosophy: The Astavakra Gita as Multivalent Narrative Scott R. Stroud Department of Philosophy Temple University Indian philosophy has often been described as radically different in nature than Western philosophy due to its frequent use of narrative structure. By employing poetic elements in their use of language, such texts attempt to convey deep metaphysical (...) truths and philosophical positions about reality that are in many cases quite different from Western ideas (Babbili 1997). Often, these ways of conveying truths are an integral part of that truth. One particularly useful form is narrative, taking instantiations such as a dialogue between characters. Philosophical dialogues such as the Bhagavad Gita and the Astavakra Gita (also known as the Astavakra Samhita ) use a portrayed conversation involving a guru or deity to convey didactic lessons and values to the receptive audience, both ancient and modern. As texts such as the Bhagavad Gita gain in popularity and circulation in the Western world (Minor 1982; Paine 1998; Sharpe 1985), philosophical and rhetorical inquiry must be extended to explain how these texts function in an argumentative philosophical context.Stroud (2002a, 2002b) has advanced the idea that such ancient Indian narratives argue through the use of contradictions and conflicting value structures;1 he labels such texts as multivalent narratives since their use of contradictory value structures compel audience members to reconstruct the narrative's message and allow for the acceptance of novel views. Multivalent narratives are to be distinguished from polysemic narratives (Fiske 1986) in that the latter concern different audience members finding a preferred position from the ambiguous story. Polysemic narratives involve the difference in meaning of the same story to different auditors. Condit criticizes this notion of polysemic narratives and advances her own concept of polyvalent narratives. The concept of a polyvalent narrative involves different auditors understanding the same story in similar ways, but differing in how they evaluate its message. Condit's research with a popular television [End Page 42] show and two students from radically different backgrounds on abortion finds that they understood what occurred in a very similar fashion; they differed in that they "disagree[d] about the valuation of those denotations to such a degree that they produce[d] noticeably different interpretations" (1989, 106). Thus, the auditors differ as to their response to a certain story and how it treats their own cherished values. Stroud (2002a) provides a thorough justification as to why the concepts of polysemic and polyvalent narratives do not capture what can be called multivalent narratives. The important factor in distinguishing these three concepts is that the third involves contradictions at the level of values within a text and the reader's necessitated activity of trying to synthesize or reconcile such contradictions. It is this activity that is the hallmark of multivalent narratives.This employment of multivalent narrative offers a challenge to familiar Western conceptions of argumentative discourse and demands further investigation. This study explores the ways a particular text, the Astavakra Gita, argues its philosophical positions to its audience of potential "pupils."2 Using the insights provided by theories of narrative and reader-response theory, I will argue that this text advances its claims not through overt syllogism or validity claim redemption, but through textual indeterminacy between the audience's disposition and the foregrounded theme of non-individuation in the text. This tension, increased by certain textual devices, results in consistency building by the audience, which enables the transcendence of these two viewpoints (reader and text); it is this experience, not claim, that the Astavakra Gita seems to be advancing to any given audience.In order to explore this interpretation of this text and its argumentative relationship to an audience, insights from both literary studies and rhetorical theory must be used in laying a foundation. The work of Wolfgang Iser (1980, 1989, 1993) and Walter Fisher (1987) will assume roles of particular importance in this endeavor. Iser's theory of aesthetic response provides a useful description of the phenomenological process of reading such a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Dewey and the Question of Artful CommunicationScott R. StroudThe American pragmatist John Dewey included tantalizing sections of praise of the power of communication in his important work on community, experience, and their improvement, noting in 1925 that "of all aff airs, communication is the most wonderful" (1988a, LW 1:132) and in 1927 that communication plays an important part in the individual's attempt "to learn to become human" (1984, (...) LW 2:332).1 Some in the field of communication have sensed the important, but undeveloped, role that communication plays in his thought and have attempted to use Dewey's work in analyzing rhetorical practice, cultural studies, and the role of journalism in society.2 While such studies strive to clarify the value and process of communication in Dewey's thought, they fall short of explaining one seemingly simple thing that is implied in these passages—that communication can be experienced as aesthetic or artful. Nathan Crick identifies such a lacuna in the literature and notes that "beyond its utility as an argument against elite forms of academic criticism, the value of Dewey's aesthetic theory for communication studies remained underdeveloped" (2004, 303). Although he does an admirable job of tracing the relation of aesthetics to communication in Dewey's evolving thought, Crick comes no closer than others in answering the fundamental question of how communication can be artful or aesthetic—he merely argues for the general point that " communication, [End Page 153] whether it occurs in an oration, a conversation, or a television, is best understood as a form of art that has the potential to bring about aesthetic experience in its participants and open their eyes to the world of possibility embodied within each of us" (2004, 314). How exactly does this aesthetization of communication occur? Crick ends his article with the interesting claim that "in its aesthetic form communication becomes rhetorical. It turns communication into an art whose goal is a presentation that unites form and rhythm in a manner that can reach down into the experiences of the audience and literally transform them into something new" (2004, 317). How exactly does communication meet such standards? Does such a "high" art of communication as rhetoric fit everyday communication, the vast majority of human communicative practices?3 Although Crick's study is an important inquiry into the overall role of communication in Dewey's aesthetics, it still leaves open the fundamental question—How exactly can any given act of communication (beyond the eloquent and poetic oration) be rendered aesthetic or artful?This question was vitally important for Dewey, as he places artistic and aesthetic aspects of communicative practice at the very heart of his social and political philosophy. In describing the "Great Community," he announces that it will take place when two conditions hold: "The highest and most difficult kind of inquiry and a subtle, delicate, vivid and responsive art of communication must take possession of the physical machinery of transmission and circulation and breathe life into it.... Democracy will come into its own, for democracy is a name for a life of free and enriching communion.... It will have its consummation when free social inquiry is indissolubly wedded to the art of full and moving communication" (1984, LW 2:350). This is a vital passage for understanding Dewey's aims, as it clearly links a scientific method of thinking (his preferred method of "inquiry") with a form of communication that can be taken as an art.Yet scholars of communication systematically miss this part of the Deweyan equation. For instance, take Lary Belman's early study of Dewey's view of communication. He concludes by analyzing this same passage from Dewey on the two conditions of the Great Community and states, "The basic conditions for the creation of a Great Community... were, Dewey postulated, the presence of (a) vigorous, systematic, and continuous social inquiry to reveal the influential agencies at work in society and their mode of operation, and (b) widespread and rapid distribution of the findings of this inquiry in a form readily understood by those for whom these findings [End Page 154] have significance" (1977, 36–37). It is remarkable that the... (shrink)

ABSTRACT What are the obstacles to believing that narratives can argue? How can we be assured that narratives argue well? This article will explore major objections to accounts of narrative argument and literary truth, and explore a theory of narrative reasoning that emphasizes identification as a vital part of argument. In exploring the account of narrative offered by Walter Fisher in light of concerns with narrative in rhetorical studies and philosophy, I explicate a renewed sense of identification and narrative reasoning (...) that can meet many of these objections to giving narrative a role in human communication and argument. Of particular interest are the resources available in narratives for active identification by an auditor or reader as good reasons for action or belief in their own extratextual activities. (shrink)

The relationship between William James and the stoics remains an enigma. He was clearly influenced by reading Marcus Aurelius and Epictetus throughout his career. Some work has been done on the thematic convergences between Jamesian pragmatism and stoic thought, but this study takes a different path. I argue that the rhetorical style that James uses in arguing for his moral claims in front of popular audiences can be better understood if we see it in light of the stoic style of (...) argumentation. I look at a text James read closely and recommended to close acquaintances—Marcus Aurelius's Meditations—to extract a sense of stoic rhetorical style. James's use of the stoic's tactics of vivid examples and rhetorical questions to shape the rhetorical experience of his audience and to thereby make his points becomes understandable as a possible extension of the stoic style of persuasion. (shrink)