The Lancashire Independent College in Whalley Range, Manchester, was built to train Congregational ministers. As the first of a number of Nonconformist educational institutions in the area, it illustrates Manchester‘s importance as a centre of higher education generally and Nonconformist education in particular. The building was designed by John Gould Irwin in Gothic style, mediated through references to All Souls College in Oxford by Nicholas Hawksmoor, whose architecture also inspired Irwins Theatre Royal in Manchester. The College was later extended by (...) Alfred Waterhouse, reflecting the growing success of the institution, which forged links with Owens College and went on to contribute, with other ministerial training colleges, to the Universitys Faculty of Theology established in 1904. The building illustrates an interesting strand in early nineteenth-century architectural style by a little-known architect, and has an important place in the history of higher education in north-west England. (shrink)

One of the strikingly iconoclastic features of actor-network theory is its juxtaposition of the claim to be a realist perspective with denials that supposedly natural phenomena existed before scientists “made them up.” This paper explains and criticizes such arguments in the work of Bruno Latour. By combining referent and reference in the concept of assemblages, Latour provides a superficially viable way to reconcile these apparently incompatible claims. This paper will argue, however, that this conflation of referent and reference leads Latour’s (...) ontology into difficulties that can only be resolved by abandoning it in favor of a more conventional—critical—realism. (shrink)

Zusammenfassung. Im Wandel vom paternalistischen zum partnerschaftlichen Arzt-Patient-Verhältnis werden auch Konfliktsituationen am Ende des Lebens aus einem anderen Blickwinkel gesehen. Der Fortschritt der Intensivmedizin und die zunehmende Zahl chronisch Kranker schaffen hier neue ethische Probleme. Am Fall eines Patienten, der an einer Amyotrophen Lateralsklerose litt, wird der Autonomiekonflikt zwischen Selbst- und Fremdbestimmung verdeutlicht. Juristische, medizinische und ethische Argumente werden fallbezogen dargestellt und der Stellenwert von Patientenverfügungen und das derzeitige deutsche Betreuungsrecht diskutiert.

Historically, opponents of realism have argued that the world’s objects are constructed by our cognitive activities—or, less colorfully, that they exist and are as they are only relative to our ways of thinking and speaking. To this realists have stoutly replied that even if we had thought or spoken in ways different from our actual ones, the world would still have been populated by the same objects as it actually is, or at least by most of them. (Our thinking differently (...) could cause some differences in which objects exist, or in what some existing objects are like, but that is another matter.) Yet this reply has repeatedly failed to amount to a decisive objection. For opponents of realism have repeatedly argued, in one way or another, that we construct the world’s objects in just such a way as to render such a counterfactual true. We construct them so as to appear not to be our constructs. Just such a debate is currently underway concerning the properties that are essential to the world’s objects. It is widely agreed, with varying caveats1, that there are such properties—that by virtue of belonging to one or another natural kind, the world’s objects possess certain properties essentially, and have individual careers that last exactly as long as those essential properties are jointly present. But what underlies the status as essential of the properties that are thus essential to objects in the world? The realist answer treats essential status as mind-independent, and assigns it to the way the world works (Elder.. (shrink)

Affirming the consequent is a fallacious form of reasoning in formal logic that occurs when the minor premise of a propositional syllogism affirms the consequent of a conditional statement. A conditional statement is an “if‐then” sentence that expresses a link between the antecedent (the part after the “if”) and the consequent (the part after the “then”). A conditional statement does not assert either the antecedent or the consequent. It simply claims that if the antecedent is true, then the consequent is (...) also true. Although affirming the consequent is an invalid argument form and sometimes mistaken for, the valid argument form modus ponens. Modus ponens is a valid argument form in Western philosophy because the truth of the premises guarantees the truth of the conclusion; however, affirming the consequent is an invalid argument form because the truth of the premises does not guarantee the truth of the conclusion. (shrink)

Der erste Andronikos erwies sich unter jenen Kaisern, welchen auf dem Thron des byzantinischen Reiches nur eine kurze Zeitspanne beschieden war, als besonderer Liebling der Nymphe Echo. Geboren um 1120, tritt dieser kaiserliche Neffe und Ziehbruder eines Kaisers als eine im wahren Wortsinn changierende Gestalt des 12. Jahrhunderts vor unsere Augen. Zeitlebens war er der vornehmste Opponent seines Vetters, des Kaisers Manuel Komnenos (reg. 1143–1180); er verbrachte neun Jahre im Kerker (1154/55–Herbst 1164) und lebte nach abenteuerlicher Flucht für weitere fünfzehn (...) Jahre in Verbannung (1164/65, 1166–1180). Als er spät im Jahr 1183 schließlich zum Basileus der Rhomäer avancierte, schreckte er vor dem Meuchelmord an seinem Neffen, dem jungen Kaiser Alexios, nicht zurück – um seinerseits kaum zwei Jahre später von Hand des konstantinopolitanischen Pöbels das wohl grausamste Ende zu finden, das jemals einem byzantinischen Autokrator zuteil wurde (September 1185): Das prophezeite AIMA der Komnenoi hatte sich erfüllt. Andronikos' kurze Tyrannis ist eingerahmt von den blutigen Ausschreitungen der Konstantinopolitaner wider die Lateiner (April 1182) und deren Nemesis, der normannischen Eroberung und Plünderung Thessalonikes (August 1185). Einige beherzte Maßnahmen seinerseits, groben Mißständen Abhilfe zu leisten, wurden bereits von den Zeitgenossen mit Lob bedacht. Die folgenden Glossen richten den Fokus allerdings vor allem auf jene Jahre, in denen odysseusgleiche Irrfahrten Andronikos bis hinauf in die Lande der Rus' (1164/65) und schließlich von Jerusalem über Damaskus und Bagdad nach Georgien führten (zwischen 1167 und 1180), ehe er in der Herrschaft der Saltuḳ-oġullari im nordöstlichen Winkel Kleinasiens, bei Koloneia (türk. Şebinkarahisar), Zuflucht fand. (shrink)

Although philosophy courses are not known for hands-on learning activities in which students use, manipulate, or touch objects with their hands, there are simple hands-on activities that teachers can use to liven up their classrooms and foster active learning. In this paper I describe four activities I developed to attempt to improve student learning: GoldiLocke and the Three Buckets, The Argument From Disagreement Box, The Trolley Problem Reenactment, and The Lego Man of Theseus. I argue that such activities are effective (...) for two main reasons: they are fun; and they involve embodied learning. Finally, I offer some advice for developing hands-on learning activities for philosophy courses and share some of the ideas generated by session participants when I presented this material at the American Association of Philosophy Teachers Twentieth Biennial Workshop/Conference. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy, 'denying the antecedent'. Like affirming the consequent, denying the antecedent is also a fallacious form of reasoning in formal logic. This time the problem occurs when the minor premise of a propositional syllogism denies the antecedent of a conditional statement. Denying the antecedent makes the mistake of assuming that if the antecedent is denied, then the consequent must also be denied. Like modus ponens, modus tollens is a valid (...) argument form because the truth of the premises guarantees the truth of the conclusion; however, like affirming the consequent, denying the antecedent is an invalid argument form because the truth of the premises does not guarantee the truth of the conclusion. The invalidity of denying the antecedent is confirmed by a truth table presented in the chapter. (shrink)

Zusammenfassung. Im Wandel vom paternalistischen zum partnerschaftlichen Arzt-Patient-Verhältnis werden auch Konfliktsituationen am Ende des Lebens aus einem anderen Blickwinkel gesehen. Der Fortschritt der Intensivmedizin und die zunehmende Zahl chronisch Kranker schaffen hier neue ethische Probleme. Am Fall eines Patienten, der an einer Amyotrophen Lateralsklerose litt, wird der Autonomiekonflikt zwischen Selbst- und Fremdbestimmung verdeutlicht. Juristische, medizinische und ethische Argumente werden fallbezogen dargestellt und der Stellenwert von Patientenverfügungen und das derzeitige deutsche Betreuungsrecht diskutiert.

In “Descartes’s Theodicy of Error,” Michael J. Latzer argues that the Fourth Meditation has “general significance for the project of theodicy” and offers “asolution to the problem of evil as complete, in its own succinct way, as Leibniz’s is on a grander scale.” I do not think that anyone has accurately understood the complex theodicy offered there, however. Commentators disagree about the argument(s) and have not carefully explained exactly what Descartes says that applies to the problem of evil. The purpose (...) of my paper is three-fold. I (1) explain the theodicy that Descartes offers to explain philosophical error in the Fourth Meditation; (2) argue that although we are justified in understanding this theodicy as concerning the problem of evil, the advice Descartes offers for avoiding philosophical error does not apply to avoiding sin (an example of evil); and (3) argue that the theodicy may actually be no theodicy at all. (shrink)

In “Descartes’s Theodicy of Error,” Michael J. Latzer argues that the Fourth Meditation has “general significance for the project of theodicy” and offers “asolution to the problem of evil as complete, in its own succinct way, as Leibniz’s is on a grander scale.” I do not think that anyone has accurately understood the complex theodicy offered there, however. Commentators disagree about the argument(s) and have not carefully explained exactly what Descartes says that applies to the problem of evil. The purpose (...) of my paper is three-fold. I (1) explain the theodicy that Descartes offers to explain philosophical error in the Fourth Meditation; (2) argue that although we are justified in understanding this theodicy as concerning the problem of evil, the advice Descartes offers for avoiding philosophical error does not apply to avoiding sin (an example of evil); and (3) argue that the theodicy may actually be no theodicy at all. (shrink)

In their responses to Dr Osamu Muramoto Watchtower Society spokesmen David Malyon and Donald Ridley ,1–3 deny many of the criticisms levelled against the WTS by Muramoto.4–6 In this paper I argue as a Jehovah's Witness and on behalf of the members of AJWRB that there is no biblical basis for the WTS's partial ban on blood and that this dissenting theological view should be made clear to all JW patients who reject blood on religious grounds. Such patients should be (...) guaranteed confidentiality should they accept whole blood or components that are banned by the WTS. I argue against Malyon's and Ridley's claim that WTS policy allows freedom of conscience to individual JWs and that it is non-coercive and non-punitive in dealing with conscientious dissent and I challenge the notion that there is monolithic support of the WTS blood policy among those who identify themselves as JWs and carry the WTS “advance directive”. (shrink)

In this wide-ranging interview, Dave Elder-Vass discusses his main contributions to critical realist theory over two decades. In the first half, he explains his early work on emergence, agency, str...

The far reaching changes in man's social and personal life taking place in our lifetime underline the need for a sound ethical evaluation of our rights and duties and of human behaviour both on the individual level and in the political society. On many issues judgments of value vary widely and a consultation of the thought of Thomas Aquinas on the basic questions will be helpful, the more since he is not only one of the greatest philosophers but also succeeded (...) in integrating in his moral philosophy the wisdom of the ancients, in particular of Aristotle and the Stoa. This book presents Aquinas's thought on such central questions as man's happiness, how to determine the morality of our actions, the natural law and the main virtues, as well as on the common good, war, human labour, love and friendship. Throughout the book the intellectual character of this moral philosophy is pointed out and problems are set in a historical perspective. (shrink)

The problem of structure and agency has been the subject of intense debate in the social sciences for over 100 years. This book offers a solution. Using a critical realist version of the theory of emergence, Dave Elder-Vass argues that, instead of ascribing causal significance to an abstract notion of social structure or a monolithic concept of society, we must recognise that it is specific groups of people that have social structural power. Some of these groups are entities with (...) emergent causal powers, distinct from those of human individuals. Yet these powers also depend on the contributions of human individuals, and this book examines the mechanisms through which interactions between human individuals generate the causal powers of some types of social structures. The Causal Power of Social Structures makes particularly important contributions to the theory of human agency and to our understanding of normative institutions. (shrink)

This chapter contains sections titled: Descartes' Cogito Augustine's “Si fallor, sum” Argument (If I Am Mistaken, I Exist).

This article reconsiders a graffitied riddle from Pompeii (CIL 4.1877). It argues that slavery is one possible dimension of the puzzle, and that acknowledging the existence of slavery in this text testifies to the potential of Pompeian graffiti as a source for overlooked social histories.

This article revisits a famous graffiti poem from Pompeii (CIL 4.9123). It argues that the poem is both more erotically charged and more cleverly metaliterary than previously recognized; and that this reading of the poem offers new evidence for the literary richness of Pompeii's graffiti culture.

Este relato de experiência apresenta resultados da pesquisa sobre a Saúde em Santo Amaro: a partir dos saberes tradicionais das rezadeiras/benzedeiras que teve por objetivo analisar as práticas medicinais e espirituais com o sagrado. A pesquisa etnográfica foi realizada com as rezadeiras, dessa forma, estabelecendo fronteiras com os rituais de cura, fé e devoção, nos processos de aprendizagem, aos mais variados tipos de doenças, as rezas e as curas, sendo assim, realizadas por elas. As rezadeiras/benzedeiras são mulheres cujo valor histórico, (...) tornando-se as suas benzeduras símbolo de resistência humana, na sua prática sobre as benzeduras. Entretanto, vale fomentar na pesquisa, sobretudo, as suas práticas também estão relacionadas a conhecimentos católicos, indígena, africana, com seus “cânticos” e “rezas” religiosas, trazendo consigo o desejo da fé de resultar o seu trabalho por alcances estabelecidos nas suas práticas reverenciadas assim as pessoas que procuram por elas. O objeto é tentar caminhar ao longo da história, em conjunto com as práticas religiosas, percebendo as inúmeras implicações produzidas pela sociedade. O contexto etnográfico da pesquisa foi na cidade de Santo Amaro. Palavras-chave: Saúde, Benzedeira, Espiritualidade. (shrink)

Poverty observed from business in the academic field has evolved in some publications and is characterized as a multidimensional phenomenon, having several theoretical strands that add their attention to this problem. The objective of this study is to identify and cluster the variables of poverty in the business area through the network analysis. There were 1,745 keywords mentioned in 566 papers about the theme present in the Scopus database between 2000 and 2016. The results demonstrate a network with four clusters: (...) (a) Economy, government and people; (b) Community, institutions and market; (c) Business and environment; and (d) Social aspects and finance. From the network, it is possible to understand the most cited categories of variables (research methodology and business aspects), the most consolidated relations between categories of variables (poverty and economic aspects), the most studied area (Economy, government and people), and the gaps to be explored. (shrink)

'Social construction' is a central metaphor in contemporary social science, yet it is used and understood in widely divergent and indeed conflicting ways by different thinkers. Most commonly, it is seen as radically opposed to realist social theory. Dave Elder-Vass argues that social scientists should be both realists and social constructionists and that coherent versions of these ways of thinking are entirely compatible with each other. This book seeks to transform prevailing understandings of the relationship between realism and constructionism. (...) It offers a thorough ontological analysis of the phenomena of language, discourse, culture and knowledge, and shows how this justifies a realist version of social constructionism. In doing so, however, it also develops an analysis of these phenomena that is significant in its own right. (shrink)

Is there an alternative course to one which sets up hypotheses as to the nature of poetry and then proceeds to illustrate them? Happily, there is. Rather than beginning with the hypothesis we may begin with the fact, and let what may emerge. That is, rather than beginning with some notion of the nature of poetry, we may begin with individual poems and discover what we may of their nature or form. This procedure evidently involves four phases: examination of the (...) characteristics of individual poems, discovery, by comparison with other poems, of likenesses and differences, decision as to which of these likenesses and differences are relevant to poetic form, and the statement of form itself. Once we have discovered a given form, we shall be in a position to discuss the principles underlying the construction of such form, the various possibilities of such construction, and what constitutes excellence in a given form. Elder Olson, poet, critic, and Distinguished Service Professor in the department of English at the University of Chicago, is the author of six volumes of verse, including Collected Poems and Olson's Penny Arcade, and of numerous works of literary criticism. His previous contributions to Critical Inquiry are "The Poetic Process" and "On Value Judgments in the Arts" , the title essay on his most recent collection of criticism. Among the many awards which he has received are the Academy of American Poets award, the Longview Foundation award, the Emily Clark Balsh award and, for Olson's Penny Arcade, the Society of Midland Authors award. Both his poetry and his criticism are the subject of a book by Thomas E. Lucas. Part II of "A Conspectus of Poetry" will appear in the Winter 1977 issue of Critical Inquiry. (shrink)

When the activity depicted in a poem involves a succession of moments, it may take one of two possible forms: simple or complex. A simple activity is like a straight line; that is, it involves progression in a single direction, then in another. This changing of course, so to speak, is called a turning point or reversal. Every complex activity contains at least one such turning point; and it is possible to have a good many turning points if the action (...) is long enough, as in an epic like the Odyssey, which in fact is full of reversals, for Odysseus or his men or those whom they encounter are always getting into danger and then out of it, or else doing something and having to produce an opposite effect to the one intended; and of course all such things are reversals. . . . Generally speaking, we feel emotions more powerfully when they come upon us unexpectedly. Unexpected good fortune seems even better than it is, unexpected misfortune even worse, by comparison with what we had expected: consequently we respond with greater emotion. Since reversals always involve something of the unexpected, the complex form of activity offers more possibility of emotional power than the simple. The reversal must be unexpected if it is to be effective, and also...it must be probable; the complex activity must therefore always contain an apparent or on-the-surface probability, which founds our expectation, and the real probability, which defeats it. The real probability must be more probable than the apparent, for otherwise we should not accept it; and it must be hidden , for otherwise we should expect it as the more probable. Part I of a "Conspectus of Poetry" appeared in the Autumn 1977 issue of Critical Inquiry. Elder Olson's contributions to Critical Inquiry are "The Poetic Process" and "On Value Judgments in the Arts". (shrink)

Is there an alternative course to one which sets up hypotheses as to the nature of poetry and then proceeds to illustrate them? Happily, there is. Rather than beginning with the hypothesis we may begin with the fact, and let what may emerge. That is, rather than beginning with some notion of the nature of poetry, we may begin with individual poems and discover what we may of their nature or form. This procedure evidently involves four phases: examination of the (...) characteristics of individual poems, discovery, by comparison with other poems, of likenesses and differences, decision as to which of these likenesses and differences are relevant to poetic form, and the statement of form itself. Once we have discovered a given form, we shall be in a position to discuss the principles underlying the construction of such form, the various possibilities of such construction, and what constitutes excellence in a given form. Elder Olson, poet, critic, and Distinguished Service Professor in the department of English at the University of Chicago, is the author of six volumes of verse, including Collected Poems and Olson's Penny Arcade, and of numerous works of literary criticism. His previous contributions to Critical Inquiry are "The Poetic Process" and "On Value Judgments in the Arts", the title essay on his most recent collection of criticism. Among the many awards which he has received are the Academy of American Poets award, the Longview Foundation award, the Emily Clark Balsh award and, for Olson's Penny Arcade, the Society of Midland Authors award. Both his poetry and his criticism are the subject of a book by Thomas E. Lucas. Part II of "A Conspectus of Poetry" will appear in the Winter 1977 issue of Critical Inquiry. (shrink)

When we discuss the value of a work of art we are confronted immediately with two difficulties: the terms we use, and the peculiar character of art. No one, to my knowledge, has ever doubted that an artist produces a form of some kind, and that in any discussion of art as art that form must somehow be considered; but the terms we use generally have no reference to form. We miss the form in various ways We use terms that (...) are nonartistic—that is, terms that refer to something external to the work, as when we speak of the subject of a painting, of what was depicted rather than the depiction of it, though we know full well that what we respond to is not what was depicted but the depiction of it. "This is a play about Oedipus— what does that tell us of the diverse forms produced by Sophocles, Seneca, Dryden, Voltaire, Gide, Cocteau? Or again, we use terms which are analogical, for example, the "rhythm" of a painting; the difficulty with these is that they are ambiguous and also that, while they may relate to the work, they can designate it only insofar as there is similarity between it and the analogue. Again, we use terms which seem to designate a single form when in fact they refer to forms of the utmost heterogeneity, as when we speak of "the novel"; this usually arises out of the indiscriminate application of the term over some considerable span of history, so that the "historical slippage" of meaning is gradual and goes unnoticed. As the term broadens in meaning to include more and more heterogeneous forms, the essence of each is lost, and the term comes to apply only to accidental analogies between the forms. In the end very little can then be said, involving only the most abstract and general accidents of likeness. Henry James' The Art of Fiction, Percy Lubbock's The Craft of Fiction, and E.M. Forster's Aspects of the Novel illustrate this condition perfectly. The complaint that it is impossible to discuss tragedy because the term has been diversely employed and its proffered justification stem from this condition. The complaint and the justifications are both trivial, and the solution of the difficulty is simple. All that is necessary is to distinguish the different senses of the term by distinguishing the different things to which it is applied. Language is ambiguous, and we use it ambiguously; this in no way implies that the ambiguities cannot be cleared up. Finally, we may use terms which indeed have reference to the form of the work but place the part for the whole; that is, terms which are elements in its definition but do not constitute the complete definition. Thus we designate something, not through the form proper but through the device or method used, as in "drama," "sculpture," "etching," "collage," or through the means or medium, as in "charcoal sketch," "watercolor," "oil painting." The point is not that the object is not, say, a drama or a watercolor; of course it is. The point is rather that these terms do not as such refer to the form and refer to it completely. If in fact they stipulated form, all charcoal sketches would be alike in form, and all oil paintings, and all dramas. One consequence of speaking in such a fashion is that we are likely to confuse the method with the form and talk of, say, "the nature of drama" as though all drama were of the same "nature," whereas the dramatic method is used in a wide variety of forms; or to confuse the medium or means with the form and to assure that the work can have no properties beyond those of its medium, as though artists did not exist and all art were simply nature.Elder Olson, poet and critic, has received numerous awards for his verse . Among his many works are Tragedy and the Theory of Drama, and The Theory of Comedy. His contributions to Critical Inquiry are "The Poetic Process"" , Part 1 of a "Conspectus of Poetry", and Part 2 of a "Conspectus of Poetry". (shrink)

In general, discussions of the poetic process have tended to fall into one of three classes. The first of these, generalizing the process, analyzes the faculties or the activities supposedly involved and arranges these in their logical order, to produce distinct stages or periods of the process. The second kind describes the working habits of an individual poet in terms of characteristic external or internal circumstances or conditions. The third kind gives us, in the same terms, the history of the (...) composition of a particular poem. To illustrate these in reverse order: W. D. Snodgrass' essay The Finding of a Poem tells us how he discovered the meaning—for him—of the elements entering into a particular poem; Paul Valéry's essays on his own poetry—Poésie et pensée abstraite, for example—generally describe his working habits and his experiences while at work; and the following passage gives a typical account of the poetic process as a series of logically ordered stages: "There is, first, a period of hard thinking, during which the mind explores the problems; then a period of relaxation, during which the rational processes of the mind are withdrawn from this particular problem; then the flash of insight which reveals the solution, organizes the symbols, or directs the thinking, during which the formula is tested, the work of art shaped and developed...Graham Wallas calls the four stages Preparation, Incubation, Illumination, and Verification..." [Wilbur L. Schramm, "Imaginative Writing," 1941] Elder Olson, poet and critic, has received numerous awards for his work. He is the author of, among other works, Penny Arcade, a collection of poetry, and of criticism, On Value Judgment in the Arts and Other Essays. His contributions to Critical Inquiry are "On Value Judgments in the Arts" , Part 1 of a "Conspectus of Poetry" , and Part 2 of a "Conspectus of Poetry". (shrink)

In _Real Natures and Familiar Objects_ Crawford Elder defends, with qualifications, the ontology of common sense. He argues that we exist -- that no gloss is necessary for the statement "human beings exist" to show that it is true of the world as it really is -- and that we are surrounded by many of the medium-sized objects in which common sense believes. He argues further that these familiar medium-sized objects not only exist, but have essential properties, which we (...) are often able to determine by observation. The starting point of his argument is that ontology should operate under empirical load -- that is, it should give special weight to the objects and properties that we treat as real in our best predictions and explanations of what happens in the world. Elder calls this presumption "mildly controversial" because it entails that arguments are needed for certain widely assumed positions such as "mereological universalism". Elder begins by defending realism about essentialness. He then defends this view of familiar objects against causal exclusion arguments and worries about vagueness. Finally, he argues that many of the objects in which common sense believes really exist, including artifacts and biological devices shaped by natural selection, and that we too exist, as products of natural selection. (shrink)

In _Real Natures and Familiar Objects_ Crawford Elder defends, with qualifications, the ontology of common sense. He argues that we exist -- that no gloss is necessary for the statement "human beings exist" to show that it is true of the world as it really is -- and that we are surrounded by many of the medium-sized objects in which common sense believes. He argues further that these familiar medium-sized objects not only exist, but have essential properties, which we (...) are often able to determine by observation. The starting point of his argument is that ontology should operate under empirical load -- that is, it should give special weight to the objects and properties that we treat as real in our best predictions and explanations of what happens in the world. Elder calls this presumption "mildly controversial" because it entails that arguments are needed for certain widely assumed positions such as "mereological universalism". Elder begins by defending realism about essentialness. He then defends this view of familiar objects against causal exclusion arguments and worries about vagueness. Finally, he argues that many of the objects in which common sense believes really exist, including artifacts and biological devices shaped by natural selection, and that we too exist, as products of natural selection. (shrink)

Most contemporary metaphysicians are sceptical about the reality of familiar objects such as dogs and trees, people and desks, cells and stars. They prefer an ontology of the spatially tiny or temporally tiny. Tiny microparticles 'dog-wise arranged' explain the appearance, they say, that there are dogs; microparticles obeying microphysics collectively cause anything that a baseball appears to cause; temporal stages collectively sustain the illusion of enduring objects that persist across changes. Crawford L. Elder argues that all such attempts to (...) 'explain away' familiar objects project downwards, onto the tiny entities, structures and features of familiar objects themselves. He contends that sceptical metaphysicians are thus employing shadows of familiar objects, while denying that the entities which cast those shadows really exist. He argues that the shadows are indeed really there, because their sources - familiar objects - are mind-independently real. (shrink)