I should like to add one new motif to our discussion. But to do so I must begin with an old question, exceedingly simple-minded for so learned an audience: "Why art?" However, in accordance with the limited task I set myself, it is best to frame it in less general form:"Why has art been needed by humanity as a biological species?".

The problem of internal audience is thus that no such audience exists, that the X or abstract boundary of intentionality to which we want to give the name audience cannot be described in the terms of a world in which audiences listen to utterance. For that is the world that is annihilated in our objective comprehension of the work, and the X becomes the sole reality. Yet the only terms available to us to describe the reality that is the work (...) must be taken from the only world we know, and the only escape from theoretical confusion is to see that such terms have, in their new use, a purely analogous function, that they draw on the world only as an unreal analogy of the X that is real. I'm not certain that Rabinowitz's discussion of Pale Fire is in any way central to his "four audience" theory, but I'd like to end by saying that it misses an essential point. William C. Dowling is an associate professor of English at the University of New Mexico and the author of The Boswellian Hero. (shrink)

A large chorus of voices has grown around the claim that theistic belief is epistemically suspect since, as some cognitive scientists have hypothesized, such beliefs are a byproduct of cognitive mechanisms which evolved for rather different adaptive purposes. This paper begins with an overview of the pertinent cognitive science followed by a short discussion of some relevant epistemic concepts. Working from within a largely Williamsonian framework, we then present two different ways in which this research can be formulated into an (...) argument against theistic belief. We argue that neither version works. (shrink)

A substantial guide providing an overview of both physicalism and metaphysical naturalism, reviewing both questions of formulation and justification for both doctrines. Includes a diagnostic strategy for understanding talk of naturalism as a metaphysical thesis.

Inside What Would Plato Do?, you'll find the basics of philosophy, written in an easy, digestible way we can all understand, along with questions to help you apply these important theories to your own life. So, after you've learned about a philosophical concept, you'll then be challenged to test yourself and see how the results can impact your daily life. For instance, after learning about Kant's theory of morality and the importance of intention you're challenged with questions like: Can good (...) people do bad things? Was there a time when you intended to do something helpful that ended up being hurtful? Does that make you a good person (because you intended to do good) or a bad person (because the results were bad)? What Would Plato Do? will not only help you better understand some of the greatest thinkers ever but will also help you think of the world around you in a whole new way! (shrink)

Can it be better or worse for a person to be than not to be, that is, can it be better or worse to exist than not to exist at all? This old 'existential question' has been raised anew in contemporary moral philosophy. There are roughly two reasons for this renewed interest. Firstly, traditional so-called “impersonal” ethical theories, such as utilitarianism, have counter-intuitive implications in regard to questions concerning procreation and our moral duties to future, not yet existing people. Secondly, (...) it has seemed evident to many that an outcome can only be better than another if it is better for someone, and that only moral theories that are in this sense “person affecting” can be correct. The implications of this Person Affecting Restriction will differ radically, however, depending on which answer one gives to the existential question. Melinda Roberts (2003) and Matthew Adler (2009) have defended an affirmative answer to the existential question using an assumption that one can asribe a zero level of wellbeing to a person in a world in which that person doesn't exist. Contrariwise, Derek Parfit (1984), John Broome (1999), and others have worried that if we take a person’s life to be better for her than non-existence, then we would have to conclude that it would have been worse for her if she did not exist, which is absurd: Nothing would have been worse or better for a person if she had not existed. The paper suggests that an affirmative answer to the existential question can avoid such absurdities: One can claim that, say, it is better for a person to exist than not to exist, without implying that it would have been worse for a person if she had not existed or that her level of wellbeing would then have been lower. (shrink)

Since the classical period, Jewish scholars have drawn on developments in philosophy to enrich our understanding of Judaism. This methodology reached its pinnacle in the medieval period with figures like Maimonides and continued into the modern period with the likes of Rosenzweig. The explosion of Anglo-American/analytic philosophy in the twentieth century means that there is now a host of material, largely unexplored by Jewish philosophy, with which to explore, analyze, and develop the Jewish tradition. Jewish Philosophy in an Analytic Age (...) features contributions from leading scholars in the field which investigate Jewish texts, traditions, and/or thinkers, in order to showcase what Jewish philosophy can be in an analytic age. United by the new and engaging style of philosophy, the collection explores rabbinic and Talmudic philosophy; Maimonidean philosophy; philosophical theology; and ethics and value theory. (shrink)

Ne vers 1180 a Aurillac, mort le 30 mars 1249, Guillaume d'Auvergne est nomme eveque de Paris des 1228. Son oeuvre est contemporaine de la querelle de l'aristotelisme qui gagne la faculte de theologie, et du bouleversement de l'histoire theorique qui l'accompagne. Quelle est la cause efficiente de la pensee? D'ou vient l'intelligible necessairement present dans l'ame qui pense? C'est a cela que repondent les neuf premieres parties du chapitre sept du De anima, ecrit vers 1240. La noetique de Guillaume (...) d'Auvergne, complexe, s'y deploie et sensiblement se demarque de l' augustinisme avicennisant qui traditionnellement la caracterise. L'ame, dans son rapport au sensible, est principium agens, lectrice, en tant qu'elle pense, d'un livre dont elle-meme est l'auteur, et dont la verite se passe en partie de l'illumination divine. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Fictive and the Imaginary: Charting Literary AnthropologyPeter J. RabinowitzThe Fictive and the Imaginary: Charting Literary Anthropology, by Wolfgang Iser; xix & 347 pp. Baltimore: Johns Hopkins University Press, 1993, $55.00 cloth, $15.95 paper.Iser’s book argues that “the special character of literature is its production through a fusion” (p. xiii) of the fictive (“an act of boundary-crossing which, nonetheless, keeps in view what has been overstepped”) (pp. xiv-xv) (...) and the imaginary (“a featureless and inactive potential”) (p. xvii). As a consequence, he anchors his “different form of heuristics” (p. xiii) in two dense meditations on the history of these terms. The first, chapter 3, teases out the way “fiction” has been “thematized” in philosophical writings—with detailed explications, in particular, of the works of Bacon (who views fiction as an idol), Bentham (“who stands for a paradigm switch” [p. 112] in which fiction becomes “a mode of bridge-building” [p. 123]), Vaihinger (“fiction as a transparent posit” [p. 130]), and Nelson Goodman (who sees fictions in terms of worldmaking). The second, chapter 4, deliberates on the nature of the imaginary, with particular attention to Coleridge (who made “the last significant attempt” to treat imagination as a faculty [p. 186]), Sartre (for whom the imaginary is an act), and Cornelius Castoriadis (who has developed the notion of the “radical imaginary”).But while the book deals exhaustively with the twin terms of its main title, its relation to its subtitle is more vexed. Certainly, this book is not about anthropology in any conventional sense. Although Iser pays lip service to “culture-bound patternings” (p. 297), in fact his inquiry almost entirely ignores the pressures of particular cultural contexts; and to the extent that he deals with “the human condition,” he does so by universalizing from a narrow slice of the Western intellectual tradition. Nor, more surprisingly, is the book really very much concerned with literature. True, the second chapter—the most compelling—offers revealing insights into the literary fictionality of some specific instances of Renaissance pastoral; but it is significant that this analysis precedes, rather than follows from, Iser’s philosophical explorations. And while he returns, in his last chapters, to literature—specifically, to a notion of literature as play—this discussion is almost completely divorced from any engagement with actual literary texts. Glancing references to Tristram Shandy and Finnegans Wake, a slightly longer mention of Beckett’s Imaginary Dead Imagine: these serve as the springboards from which Iser makes sweeping transhistorical, crosscultural pronouncements about “the” text.The Fictive and the Imaginary makes heavy demands on its readers. Although Iser lashes out against “unwieldy structuralist terminology” (p. x), his own style is dense and abstract, and his basic terminology is muddled. For instance, he insists on the term “imaginary,” in contrast to such familiar terms as “imagination,” because it is “comparatively neutral” and “has not yet been permeated by [End Page 188] traditional associations” (p. 305)—yet his analysis often depends pivotally on treating “the imaginary” and “the imagination” as equivalents. Matters are made more difficult yet by Iser’s tendency to conflate two different tasks: elucidating the history of the discourse around the terms and finding the “true” nature of the fictive and the imaginary themselves.Then, too, as the summary above may suggest, the book has organizational quirks. Iser begins by insisting vigorously on a triad, replacing the distinction between fiction and reality with the three-pronged distinction of “the real, the fictive, and... the imaginary” (p. 1). But the definition of the real, oddly exiled to a footnote, is internally inconsistent (it refers simultaneously to “the empirical world” and to “the variety of discourses relevant to the author’s approach to the world”) (p. 305), and in any case, it is soon demoted to a minor character in the argument. Indeed, in the “Epilogue”—on mimesis and literary staging—the notions of the fictive and imaginary have vanished as well. One is left, then, with a clump of chapters that do not cohere into a single book, much less a unified argument. For all its scattered insights, The Fictive and the Imaginary does not meet the high standards set by... (shrink)

We are immersed within an odorous sea of chemical currents that we parse into individual odors with complex structures. Odors have been posited as determined by the structural relation between the molecules that compose the chemical compounds and their interactions with the receptor site. But, naturally occurring smells are parsed from gaseous odor plumes. To give a comprehensive account of the nature of odors the chemosciences must account for these large distributed entities as well. We offer a focused review of (...) what is known about the perception of odor plumes for olfactory navigation and tracking, which we then connect to what is known about the role odorants play as properties of the plume in determining odor identity with respect to odor quality. We end by motivating our central claim that more research needs to be conducted on the role that odorants play within the odor plume in determining odor identity. (shrink)

A number of epistemologists have defended a necessary condition for knowledge that has come to be labeled as the “safety” condition. Timothy Williamson, Duncan Pritchard, and Ernest Sosa are the foremost defenders of safety. According to these authors an agent S knows a true proposition P only if S could not easily have falsely believed P. Disagreement arises, however, with respect to how they capture the notion of a safe belief. This article is a treatment of the different presentations and (...) defenses of the safety condition for knowledge. Special attention is first paid to an elucidation of the various aspects or features of the safety condition. Following a short demonstration of the manner in which the safety condition handles some rather tough Gettier-like cases in the literature, some problems facing safety conclude this article. (shrink)

We perceive smells as perduring complex entities within a distal array that might be conceived of as smellscapes. However, the philosophical orthodoxy of Odor Theories has been to deny that smells are perceived as having a distal location. Recent challenges have been mounted to Odor Theories’ veracity in handling the timescale of olfactory perception, how it individuates odors as a distal entities, and their claim that olfactory perception is not spatial. The paper does not aim to dispute these criticisms. Rather, (...) what will be shown is that Molecular Structure Theory, a refinement of Odor Theory, can be further developed to handle these challenges. The theory is further refined by focusing on distal perception that requires considering the perceptual object as mereologically complex persisting odor against a background scene conceived of as a smellscape. What will be offered is an expansion of Molecular Structure Theory to account for distal smell perception within natural environments. (shrink)

This is a book grounded in the real ethical challenges of modern business practice, with a world-religious perspective so necessary in an era of globalization.

When it originated in the late 19th century, psychometrics was a field with both a scientific and a social mission: psychometrics provided new methods for research into individual differences, and at the same time, these psychometric instruments were considered a means to create a new social order. In contrast, contemporary psychometrics - due to its highly technical nature and its limited involvement in substantive psychological research - has created the impression of being a value-free discipline. In this article, we develop (...) a contrasting characterization of contemporary psychometrics as a value-laden discipline. We expose four such values: that individual differences are quantitative (rather than qualitative), that measurement should be objective in a specific sense, that test items should be fair, and that utility of a model is more important than its truth. Our goal is not to criticize psychometrics for employing these values, but rather to bring them into the open and to show that these values are not inevitable and are in need of systematic evaluation. (shrink)

Questions about the status of literary truth are as old as literary criticism, but they have become both more intricate and more compelling as literature has grown progressively more self-conscious and labyrinthian in its dealings with "reality." One might perhaps read The Iliad or even David Copperfield without raising such issues. But authors like Gide , Nabokov, Borges, and Robbe-Grillet seem continually to remind their readers of the complex nature of literary truth. How, for instance, are we to deal with (...) a passage like the following from William Demby's novel The Catacombs:"When I began this novel, I secretly decided that, though I would exercise a strict selection of the facts to write down, be they 'fictional' facts or 'true' facts taken from newspapers or directly observed events in my own life, once I had written something down I would neither edit not censor it ."1What does this sentence mean? When an apparently fictional narrator distinguishes between "fictional" and "true" facts, what is the status of the word "true"? It clearly does not mean the same as "fictional," for he opposes it to that term. Yet it cannot mean "true" in the sense that historians would use, for he calls what he is writing a novel, and even if he quotes accurately from newspapers, the events of a narrator's life are not "historically" true. · 1. William Demby, The Catacombs , p.93. Peter J. Rabinowitz, assistant professor at Kirkland College, is currently working on articles on Raymond Chandler, Faulkner, and Dostoyevsky and is, as well, a music critic for the Syracuse Guide. He wrote his doctoral dissertation in comparative literature on the philosophical implications of Nabokov's use of humor and terror. "Truth in Fiction" is the first article he has had published in a scholarly journal. (shrink)

Reflection Principles are commonly thought to produce only strong axioms of infinity consistent with V = L. It would be desirable to have some notion of strong reflection to remedy this, and we have proposed Global Reflection Principles based on a somewhat Cantorian view of the universe. Such principles justify the kind of cardinals needed for, inter alia , Woodin’s Ω-Logic.

First collected in Italy in 1985, _Art's Claim to Truth_ is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of (...) Kandinsky, which reaffirm the ontological implications of art. Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, _Art's Claim to Truth_ offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth. (shrink)

Father Williams explains how the conscience is formed through our training and experiences and informed by the Holy Spirit, making it an essential tool for daily living. He uses familiar and surprising characters to illustrate the positive choices conscience can direct--and the disaster that results when a conscience is undeveloped or ignored. Questions he tackles include "Is it more important to be smart or good?""Is there a morally right thing to do in every situation?" and "Is the Christian moral life (...) an exciting adventure, or a necessary burden?" Rich, provocative, and practical for everyday decision making, KNOWING RIGHT FROM WRONG is a must-read for all who hunger for personal holiness. (shrink)

Man (Islam); Islamic philosophy; Islamic ethics.

In Nicomachean Ethics X.7–8, Aristotle defends a striking view about the good for human beings. According to Aristotle, the single happiest way of life is organized around philosophical contemplation. According to the narrowness worry, however, Aristotle's contemplative ideal is unduly Procrustean, restrictive, inflexible, and oblivious of human diversity. In this paper, I argue that Aristotle has resources for responding to the narrowness worry, and that his contemplative ideal can take due account of human diversity.

Derek Longhurst’s rhetorical strategies don’t leave me much room to maneuver. By constructing my essay in such a way that we are opponents, he offers only two choices: I can recant or enter into battle. Actually, I would rather do neither; I agree with most of what he says and would like a chance to explore those points where we differ. But in order to do that, it is first necessary to see where our differences really lie; and Longhurst’s response (...) does not make it easy.Granted, some of his criticisms are sound. He is right that I use the word “we” too loosely and that I sketched out my argument on an extremely abstract level, which resulted in, among other things, a blurring of the differences between American and British literature. But more often than not, Longhurst attacks me for taking positions that I do not in fact hold. For instance, he suggests that I believe the categories “popular” and “serious” to be fixed, and that my scheme would therefore shatter when confronted with a text like The Citadel, which was regarded as “both ‘serious’ and ‘popular.’ ” Yet my essay was intended precisely to offer a way to talk about such cases—of which The Glass Key is one—and while my solution may have its flaws, the rigidity of categories that Longhurst attacks it for is surely not one of them. Peter J. Rabinowitz is associate professor of comparative literature at Hamilton College. He is the author of Before Reading , a book about the conventions of reading, and is also active as a music critic for such publications as Fanfare and Ovation. His previous contributions to Critical Inquiry are “Truth in Fiction: A Reexamination of Audiences” , “Who Was That Lady? Pluralism and Critical Method” , and “The Turn of the Glass Key: Popular Fiction as Reading Strategy”. (shrink)