The control of mRNA synthesis in the unicellular eukaryote Saccharomyces cerevisiae involves a number of promoter elements, including an upstream activation site (UAS), an RNA initiation element (RIE) and, for some genes, a form of negative element. The UAS is involved in the activation and regulation of transcription, whilst the RIE, which comprises a transcription initiation site (or I site), and often a TATA box, is responsible for the accurate positioning of the 5′ end of the mRNA. The mechanism whereby (...) these promoter elements interact involves specific protein‐DNA binding events and possibly alterations in chromatin structure. (shrink)

This article provides current Schwartz Values Survey (SVS) data from samples of business managers and professionals across 50 societies that are culturally and socioeconomically diverse. We report the society scores for SVS values dimensions for both individual- and societal-level analyses. At the individual-level, we report on the ten circumplex values sub-dimensions and two sets of values dimensions (collectivism and individualism; openness to change, conservation, self-enhancement, and self-transcendence). At the societal-level, we report on the values dimensions of embeddedness, hierarchy, mastery, affective (...) autonomy, intellectual autonomy, egalitarianism, and harmony. For each society, we report the Cronbach’s α statistics for each values dimension scale to assess their internal consistency (reliability) as well as report interrater agreement (IRA) analyses to assess the acceptability of using aggregated individual level values scores to represent country values. We also examined whether societal development level is related to systematic variation in the measurement and importance of values. Thus, the contributions of our evaluation of the SVS values dimensions are two-fold. First, we identify the SVS dimensions that have cross-culturally internally reliable structures and within-society agreement for business professionals. Second, we report the society cultural values scores developed from the twenty-first century data that can be used as macro-level predictors in multilevel and single-level international business research. (shrink)

This bibliography of Alan Holland's work was compiled without his knowledge as part of this surprise special issue in his honour. As a result it may well be incomplete, especially with respect to earlier works and the very latest. I have done my best with the help of his ex-students and colleagues to track backwards and keep up on his more recent writings. C.L.S.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.1 (2006) 299-309 [Access article in PDF] Conscious Fiction Mary Clayton Coleman Bard College Consciousness and the Novel: Connected Essays, by David Lodge; 320 pp. Cambridge, Mass.: Harvard University Press, 2002, $24.95 boards, $16.95 paper. Fictional Minds, by Alan Palmer; 275 pp. Lincoln and London: University of Nebraska Press, 2004, $45.00. Radiant Cool: A Novel Theory of Consciousness, by Dan Lloyd; 357 pp. Cambridge, (...) Mass.: The MIT Press, 2004, $24.95 boards, $14.95 paper. What contributions can fiction make to the representation and investigation of conscious experience? Might fiction help us to develop and advance new theories about the nature of consciousness? And might such theories, in turn, inform our understanding of the process of reading fiction? Three recent volumes—one by English critic and novelist, David Lodge; another by literary theorist, Alan Palmer; and a third by philosopher and (now) novelist, Dan Lloyd—raise these important, genre-bending questions, and they offer challenging if not always convincing answers to them. More generally, these volumes make valuable contributions to the fruitful cross-pollination that has developed between philosophers, scientists, literary theorists, and novelists who are interested in the nature of consciousness.Lodge's new collection of essays is called Consciousness and the Novel: Connected Essays, and like all of the criticism he has written since the late eighties, this volume is intended for a general audience, not for [End Page 299] literary theorists. The title essay, "Consciousness and the Novel," is a revised version of the Richard Ellman Lectures in Modern Literature that Lodge gave at Emory University in 2001, and the other nine essays, all previously published, cover such topics as Howards End; the novels of Evelyn Waugh; The Letters of Kingsley Amis; Martin Amis's memoir, Experience; and the relationship between literature and criticism. I will focus on "Consciousness and the Novel."Lodge's thesis in this essay is that novels play an essential role in our exploration of the nature of human consciousness. This thesis is certainly true, but it is also entirely banal. Much more interesting is what Lodge says in support of it. He argues that because of the unique representative possibilities of the novel, conscious experiences can be represented more effectively in novels than they can be in scientific writing. Taken literally, as an assertion about the relative representational power of novels and scientific discourse, this is extremely implausible. However, taken more loosely—as an invitation to those of us interested in consciousness to take a closer look at the ways conscious experiences are represented in novels—Lodge's claim is sensible and appealing. I will consider the literal reading of Lodge's claim first and then turn to the looser one.It is undoubtedly true that, as a whole, novelists devote more energy to representing conscious experiences than writers of scientific discourse do. However, science writers can use whatever techniques best serve their aims, including the aim of describing conscious experiences, so there is no reason to think that conscious experiences can, in principle, be represented more effectively in novels than in broadly scientific discourse. Given that Lodge discusses such creative science writers as Antonio Damasio, Daniel Dennett, and Steven Pinker in the course of his essay, it is surprising and disappointing to find him caricature scientific writing in the following way: "science... is a third-person discourse. The first-person pronoun is not used in scientific papers. If there were any hint of qualia in a scientific paper... it would be edited out" (p. 11). Qualia are the supposedly subjective qualitative aspects of conscious experiences. How the plucked string of a cello sounds to you; how the rotting fish in the garbage smells to you; and how it feels for you to inch down into the smooth, almost-too-hot water of a perfect bubble bath—these are all (supposedly) examples of qualia. Lodge is simply mistaken when he says that there is no hint of qualia in scientific writing. There is no consensus about whether qualia can be explained scientifically. In fact, there is no consensus about whether they exist. [End Page... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rhetoric of Narrating Communal History in the Nineteenth-Century Finnish Historical NovelMari Hatavara (bio)Det var en mulen och dyster afton om våren 1718. Klockan knäppte fem minuter till sex i salen på den ståtliga herrgård, som tillhört den stolte Baronen Göran Boije, och som nu ägdes af hans enka, fru Catharina Boije. I detsamma hördes en klocka ringa gårdsfolket tillsamman för aftonbönen. I nedra ändan af salen samlades med (...) sakta steg allt gårdsfolket i tyst förbidan. Nu slog vägguret sex. […]It was a cloudy and dreary evening in the spring of 1718. The clock turned five to six in the great hall of the stately manor which once had belonged to the proud Baron Göran Boije, and which now was in the possession of his widow, Lady Catharina Boije. At the very moment, a bell was heard to summon all the folk together for an evening prayer. The servants gathered in the lower end of the hall with silent footsteps in a quiet waiting. The clock struck six now. […](All translations mine.)Finland's first historical novel, Fredrika Runeberg's Fru Catharina Boije och hennes döttrar (Lady Catharina Boije and Her Daughters) (1858),1 begins with this passage after a short frame narrative. The very first sentence provides the date where the story-world is set, and the lines following describe a setting suitable for that period of time. This is in accordance with the generic tradition of the historical novel. Even if the historical novel has very few characters whom theorists would agree upon, most theories of historical novel concur on the statement that the genre is "by definition referential, gesturing toward a world commonly understood to have existed" (Maxwell 545). This emphasis on the story-world has dominated the study of the historical novel. What I want to stress, however, are the specific ways in which a historical novel—to use Richard Maxwell's words—gestures toward this commonly comprehensible, preexistent world. How is the story-world made understandable to a reader and offered as the past? I want to demonstrate the importance of the literary means that help mediate between the past of the story-world and the present of the reader.The passage above begins with the retrospective view: the narrator refers to a date over two hundred years ago, and the passage is in the past tense. The text does, however, also apply expressions like "now." This indicates a point of view that is present in the story-world, at least in terms of temporality. The impression of a viewpoint present in the story-world is further emphasized by the frequent references to aural experience; the [End Page 21] sounds heard (the bell and the clock) and not heard (silent footsteps and quiet waiting) offer the reader an interpretative position that takes her into the story-world through experience. The origin of the experience, however, is not specified. Two questions arise that are crucial to my argument: Is the experiencing subject located temporally in the story-time or in the narrator's retrospective time? Is there a single experiencing subject? While the first question tackles the relationship between the past tense and the deictic markers indicating the present ("now"), the second question is concerned with features like the hearing of the sound of the bell in the passage: because the hearing is depicted in the passive mode, the hearer could be anybody or everybody.These two questions, the first about temporality and the second about the experiencing subject, intersect in the study of narrative identity. Alan Palmer suggests that in current research on narrative literature the individual consciousness has been emphasized at the expense of the social, and he stresses the importance of studying the latter (136). Still, individual and social modes of narrativizing one's past and present share common features, with the most important one perhaps being the need to mediate between different levels of time. Whereas self-narrations attempt to bridge the gap between the former, experiencing I, and the present, narrating I, historical narratives attempt to bridge the gap between characters experiencing the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading the Mind:From George Eliot's Fiction to James Sully's PsychologyVanessa L. RyanWhat is the function and value of fiction? Debates over these questions involve considerations that range from aesthetics to ethics, from the intrinsic values of the genre to its moral effects. Recently, largely under the influence of the cognitive sciences, the question has taken on a new cast: might science give us a new answer to these long-standing (...) issues? Studies such as Lisa Zunshine's Why We Read Fiction (2006), John Carey's What Good Are the Arts? (2005), and Alan Palmer's Fictional Minds (2004) are part of a growing area of interdisciplinary work on the relationship between art and consciousness.1 This body of work asks not just how our theories of consciousness inform our understanding of the process and function of [End Page 615] reading fiction, but also whether fiction itself might provide a key to new theories about the nature of consciousness.The nineteenth-century novel is often considered the high point in the literary representation of mind. Indeed, the terms "psychology" and "novel" are explicitly yoked in the nineteenth-century with the simultaneous emergence of both as discrete forms of intellectual and artistic activity. Not surprisingly, George Eliot has come to be identified with the term "psychological novel": in fact, Nicholas Dames argues that she was the first to couple the words psychology and novel in this way in an 1855 review where she contrasted Charles Kingsley's historical romance Westward Ho! with "those 'psychological' novels."2 While George Eliot initially used the phrase in what Dames calls "mock disdain," by the end of the nineteenth century the term "psychological novel" had gained currency as a straightforward description of a type of Victorian novel: Wilbur Cross, in his summary The Development of the English Novel, for example, describes the form as "stressing an inner sequence of thought and feeling, which is brought into harmony with an ethical formula and accounted for in an analysis of motive." Along with Elizabeth Gaskell and George Meredith, Cross also cites George Eliot as one of his central examples of the "psychological novel."3It seems natural, then, when a critic asks, "what is the special distinguishing function of the modern art of fiction?" to turn for an answer to George Eliot's novels and their close connections with psychological science. It is perhaps surprising that this still-current question was posed by the nineteenth-century psychologist James Sully (1842–1923) in an 1881 article in the journal Mind on "George Eliot's Art."4 His essay offers us a Victorian contribution to questions about the relationship of literature and psychology that are being addressed today by critics such as Sally Shuttle-worth, Athena Vrettos, Kay Young, Nicholas Dames, or Rick Rylance, especially [End Page 616] with respect to George Eliot. James Sully's essay not only provides valuable insight into how the Victorians themselves understood the role of psychology in the novel, but also helps to place contemporary debates about fiction and consciousness into sharper relief.In the wake of important studies, such as Rylance's Victorian Psychology and British Culture (2000), that have brought renewed attention to nineteenth-century British psychology, recent scholarship has shown the central role of Victorian debates about the mind in shaping the fiction of the period.5 Nineteenth-century mental science provided material and inspiration for works of literature, with imaginative writers eager to exploit and develop the narrative and thematic potential of contemporary psychological discourse and probe the problems it raised. Novelists such as Wilkie Collins, George Eliot, and Henry James turned to some of the most current work in the science of the mind, which they saw as the most sophisticated and credible approach to psychological realism available. These and other novelists rapidly absorbed the central terms of the new science as it considered problems of consciousness, identity, and memory, and brought them to life by dramatizing and questioning them in their fiction. James Sully's interest in George Eliot reflects this fruitful mid- to late-nineteenth-century cross-pollination between philosophers, scientists, and novelists who were interested in the nature of consciousness, psychology... (shrink)

I propose to consider the question, "Can machines think?" This should begin with definitions of the meaning of the terms "machine" and "think." The definitions might be framed so as to reflect so far as possible the normal use of the words, but this attitude is dangerous, If the meaning of the words "machine" and "think" are to be found by examining how they are commonly used it is difficult to escape the conclusion that the meaning and the answer to (...) the question, "Can machines think?" is to be sought in a statistical survey such as a Gallup poll. But this is absurd. Instead of attempting such a definition I shall replace the question by another, which is closely related to it and is expressed in relatively unambiguous words. The new form of the problem can be described in terms of a game which we call the 'imitation game." It is played with three people, a man (A), a woman (B), and an interrogator (C) who may be of either sex. The interrogator stays in a room apart front the other two. The object of the game for the interrogator is to determine which of the other two is the man and which is the woman. He knows them by labels X and Y, and at the end of the game he says either "X is A and Y is B" or "X is B and Y is A." The interrogator is allowed to put questions to A and B. We now ask the question, "What will happen when a machine takes the part of A in this game?" Will the interrogator decide wrongly as often when the game is played like this as he does when the game is played between a man and a woman? These questions replace our original, "Can machines think?". (shrink)

Alan Millar examines our understanding of why people think and act as they do. His key theme is that normative considerations form an indispensable part of the explanatory framework which we use to understand each other. Millar offers illuminating discussions of reasons for belief and reasons for action, the explanation of beliefs and actions in terms of the subject's reasons, the idea that simulation has a key role in understanding people, and the limits of explanation in terms of propositional (...) attitudes. (shrink)

Alan Miller offers a focused account of perceptual knowledge, the knowledge that we gain by means of seeing, hearing, feeling, smelling, and tasting. He explains perceptual knowledge in terms of general recognitional abilities, then situates that account within a broader perspective on epistemology and philosophical method more generally.

Alan H. Goldman argues for the internalist or subjectivist view of practical reasons on the grounds that it is simpler, more unified, and more comprehensible ...

Whose Keeper? is a profound and creative treatise on modernity and its challenge to social science. Alan Wolfe argues that modern liberal democracies, such as the United States and Scandinavia, have broken with traditional sources of mortality and instead have relied upon economic and political frameworks to define their obligations to one another. Wolfe calls for reinvigorating a sense of community and thus a sense of obligation to the larger society.

The Philosophy of John Stuart Mill demonstrates that Mill both saw his views as part of a systematic defense of empiricist epistemology and utilitarian ethics, and was to a large extent successful in offering a coherent and connected defense of this system. At the time Alan Ryan's highly acclaimed study was first published, it was unusual in insisting on the systematic character of Mill's philosophy. Since 1970, however, many writers have contributed to a more systematic understanding of Mill's program (...) for philosophy, ethics and social science, and Alan Ryan's new preface to the second edition assesses the way Mill appears in this new climate of opinion. (shrink)

In Value and Context Alan Thomas articulates and defends the view that human beings do possess moral and political knowledge but it is historically and culturally contextual knowledge in ways that, say, mathematical or chemical knowledge is not. In his exposition of "cognitive contextualism" in ethics and politics he makes wide-ranging use of contemporary work in epistemology, moral philosophy, and political theory.

Using undergraduate students from the Waikato University in New Zealand as a sample, this study compared the ethical positions of students of different field of study and demographic characteristics. It was found that the ethical standard of business students are not significantly different from that of non-business students. The findings also suggest that female students are more ethical than male students, and senior students are more ethical than junior students.Besides sex and year of study, other variables studied were parents' occupation, (...) religiosity and household income of the students. All these variables were found to have no significant impact on the ethical position of the students. Furthermore, all the interaction effects between the variables studied and the students' major field of study were nonsignificant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Historical Significance and Structure of Monroe Beardsley's AestheticsAn AppreciationNoël Carroll (bio)IntroductionMonroe C. Beardsley's Aesthetics: Problems in the Philosophy of Criticism, published in 1958 by Harcourt, Brace and World Inc.,1 was a watershed event in the history of analytic aesthetics—a climax of sorts with respect to what preceded it and, at the same time, the opening of a new, more intricately developed and defended research program in aesthetics (...) than what had been previously on offer. Beardsley's Aesthetics, and developments therefrom,2 consolidated and crystallized a tendency in aesthetics that had begun to emerge at least by the time of the publication of Francis Hutcheson's An Inquiry Concerning Beauty, Order, Harmony, Design,3 which tendency, following Beardsley, we can call the aesthetic theory of art. Assembled out of parts and suggestions from Hutcheson, Kant, Schopenhauer, and Bell, among others, the aesthetic theory of art—of which Beardsley's version is one of the most accomplished, if not the most accomplished—has shown remarkable resilience, continuing to command allegiance from many distinguished, contemporary proponents, including Nick Zangwill, Gary Iseminger, and, with certain important modifications, Alan Goldman and Malcolm Budd.Part of what I would like to do in this essay is not only to trace the evolution of the aesthetic theory of art from its origins through to Beardsley's Aesthetics (and his subsequent tinkering with this masterwork) but also to show how the structure of the aesthetic theory of art, as crafted by Beardsley, is simultaneously so elegant, comprehensive, and systematic that it is understandable that Beardsley preferred constantly to repair it after each attack rather than to abandon it for the kinds of alternatives being proffered by Goodman, Danto, Wollheim, Dickie, Wolterstorff, and then Walton. In other words, Beardsley's reluctance to give up was genuinely motivated. [End Page 2] For, if only the kinks could have been smoothed out of it, the aesthetic theory of art, of the sort initiated in Aesthetics and elaborated subsequently by Beardsley, was itself a thing of beauty: exceedingly economical in its foundational principles and powerful in its reach. Thus, whereas typically I address the shortcomings of the aesthetic theory of art, in this essay I would like to talk about its strengths, strengths that I believe encouraged Monroe Beardsley to stick with it through thick and thin—that is, through a thick swarm of often thin counterexamples.In the next part of this essay, I will try to place Aesthetics historically in the course of Western aesthetics. Then in the final section, I shall attempt to explain how the structure of the sort of aesthetic theory of art incipient in Beardsley's Aesthetics and pursued by him in later works is so almost irresistibly attractive that virtually no number of anomalies can shake its friends out of the faith that such problems can be ultimately controlled, if not entirely overcome.On the Historical Significance of Beardsley's AestheticsBeardsley's Aesthetics is the culmination of certain tendencies that had been coalescing in various ways in Western aesthetics since the eighteenth century. One of Beardsley's most significant and influential twentieth-century predecessors was Clive Bell, who in his book Art, as is well known, defined art as that which possessed significant form. Significant form, in turn, was characterized as that which caused an aesthetic emotion. Bell's notion of an aesthetic emotion, I conjecture, derived from Schopenhauer's claim that what an artwork does is to lift us out of our everyday concerns—out of the world of striving. The aesthetic emotion, according to Bell, is a matter of being carried "out of life into ecstasy."4 The aesthetic experience, according to the Schopenhauer-Bell line of thought, involves the release of the individual from the pressures of life—from the pursuit of an endless process of desiring in Schopenhauer's lingo.This notion of aesthetic experience as detachment owes something to Kant's hypothesis that an authentic aesthetic judgment is disinterested, which, of course, itself is descended historically from Hutcheson's contention that beauty amounts to an experience of disinterested pleasure. However, whereas for Hutcheson and Kant disinterestedness is a... (shrink)

Interest in ethical leadership from academics and practitioners has grown enormously in recent years. This article addresses this literature through a framework that identifies three interlocking questions. First, who are ethical leaders and what are their characteristics? Second, how do ethical leaders do what they do? Third, why do leaders do as they do and what are the outcomes of ethical leadership? Different dimensions to ethical leadership are examined and presented as three interlocking circles; Virtues, Purposes and Practices. This framework (...) presents an integrated approach to ethical leadership and argues that future research take this holistic framework and apply it to different sectors or contexts. (shrink)

First published in 1991. Routledge is an imprint of Taylor & Francis, an informa company.

Applies a philosophical analysis of the natural sciences to the social sciences.

How does the human animal who thinks and loves relate to criminal justice? This essay takes up the idea of a moral psychology of guilt promoted by Bernard Williams and Herbert Morris. Against modern liberal society’s ‘peculiar’ legal morality of voluntary responsibility, it pursues Morris’s ethical account of guilt as involving atonement and identification with others. Thinking of guilt in line with Morris, and linking it with the idea of moral psychology, takes the essay to Freud’s metapsychology in Civilization and (...) Its Discontents. Two conflicting routes to guilt are noted in Freud, one involving internalisation of external anger to suppress destructive instincts, the other loving identification with others in the process of self-formation. This second route is developed through the psychoanalytic thought of Hans Loewald and Jonathan Lear. Following Loewald, the moral psychology of self-formation makes loving identification with others the root of responsibility, guilt and atonement. Following Lear, the moral psychology of guilt developed on these lines renders psychoanalysis part of a broadly understood philosophical project following Aristotelian and Socratic principles. Underlying Morris’s account of guilt is the possibility of ‘prospective identification’, understood as the moral and psychological ground of guilt and reconciliation. This is the rational core of criminal justice, which maintains an uneasy relationship with law’s ‘peculiar’ morality. (shrink)

This chapter explores the idea that the need to establish common knowledge is one feature that makes social cognition stand apart in important ways from cognition in general. We develop this idea on the background of the claim that social cognition is nothing but a type of causal inference. We focus on autism as our test-case, and propose that a specific type of problem with common knowledge processing is implicated in challenges to social cognition in autism spectrum disorder (ASD). This (...) problem has to do with the individual’s assessment of the reliability of messages that are passed between people as common knowledge emerges. The proposal is developed on the background of our own empirical studies and outlines different ways common knowledge might be comprised. We discuss what these issues may tell us about ASD, about the relation between social and non-social cognition, about social objects, and about the dynamics of social networks. (shrink)

To say that an object is beautiful or ugly is seemingly to refer to a property of the object. But it is also to express a positive or negative response to it, a set of aesthetic values, and to suggest that others ought to respond in the same way. Such judg- ments are descriptive, expressive, and normative or prescriptive at once. These multiple features are captured well by Humean accounts that analyze the judgments as ascribing relational properties. To say that (...) an object is beautiful is to say, in part, that it is such as to elicit a response expressing pleasure in certain observers. The observers in question must not be ignorant, biased, insensitive, or of poor taste, and they must not base their evaluations on aesthetically irrelevant properties of the objects they judge. The reference to the object's "being such . . ." captures the objective side of the relation; refer- ence to the pleasurable response captures the expressive function of these judgments; and the ideal properties of the observers suggest that others ought to judge in the same way. (shrink)

We address how listeners perceive temporal regularity in music performances, which are rich in temporal irregularities. A computational model is described in which a small system of internal self‐sustained oscillations, operating at different periods with specific phase and period relations, entrains to the rhythms of music performances. Based on temporal expectancies embodied by the oscillations, the model predicts the categorization of temporally changing event intervals into discrete metrical categories, as well as the perceptual salience of deviations from these categories. The (...) model's predictions are tested in two experiments using piano performances of the same music with different phrase structure interpretations (Experiment 1) or different melodic interpretations (Experiment 2). The model successfully tracked temporal regularity amidst the temporal fluctuations found in the performances. The model's sensitivity to performed deviations from its temporal expectations compared favorably with the performers' structural (phrasal and melodic) intentions. Furthermore, the model tracked normal performances (with increased temporal variability) better than performances in which temporal fluctuations associated with individual voices were removed (with decreased variability). The small, systematic temporal irregularities characteristic of human performances (chord asynchronies) improved tracking, but randomly generated temporal irregularities did not. These findings suggest that perception of temporal regularity in complex musical sequences is based on temporal expectancies that adapt in response to temporally fluctuating input. (shrink)

The phenomenon of rigid designation - in particular, de jure rigidity - is typically treated metaphysically. The picture is: reference is gained in a way that puts no constraints on what an object in other worlds, or counterfactual situations must be like, in order to be the referent of that term, other than 'being this thing'. This allows 'pure metaphysical' investigation into, and discovery of 'the nature' of the referent. It is argued that this presupposes a 'privileged' ontology, of a (...) sort that is far from obvious. An alternative picture of rigidity is sketched, terms have associated criteria of identity and criteria of application for counterfactual situations. A term is rigid when these coincide. Aside from being a better account of rigidity, it also undermines the picture of rigid terms allowing us to 'metaphysically' investigate the nature of the referent: matters of identity and essence for the referent are settled by these semantic constraints (though it can be done in a way that allows are a posteriori necessities). (shrink)

First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...) Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)

Drawing upon ancient Hindu philosophy, the author explores the human psyche and the importance of personal identity.

This essay examines logical empiricism and American pragmatism, arguing that American philosophy's embrace of logical empiricism in the 1930s was not a turning away from Dewey's pragmatism. It places both movements within scientific philosophy and finds two key points on which they agreed: their revolutionary ambitions and their social engineering sensibility. The essay suggests that the disagreement over emotivism in ethics should be placed within the context of a larger issue on which the movements disagreed: demarcationism and imperialism.