In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order (...) to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order (...) to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In this paper, we will explain and analyse a phenomenological distinction between two kinds of actions. The distinction we have in mind is the difference between those actions that actors try, or are satisfied, to carry out, in like situations, ‘in the same way’, and all other actions. We call the first kind ‘mimeomorphic actions’ and the second kind ‘polimorphic actions’. We will define these two kinds of actions, and their species, on the basis of their characteristic intentions and experiences, (...) and thus our inquiry falls broadly into the phenomenology of action. The latter has been defined by D. W. Smith as the “description of the experience of acting, or doing something”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order (...) to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

The Greek word afi≈n has a wide-ranging meaning as well as a wideranging history: it is most commonly translated as ‘eternity’ but has as its first meaning ‘life’ or ‘lifetime’; it has its place in Greek literature and philosophy, but also in the Greek Bible, where it represents the Hebrew word ‘olâm. In this article I intend to sketch the history of the meaning and interpretation of aiôn from the word’s first attestation in Homer up until the beginning of the (...) Christian era. The expanded version of this study was defended as a doctoral dissertation, entitled Life Time Entirety: A Study of AIVN in Greek Literature and Philosophy, the Septuagint and Philo, on 7 September 1999 at the University of Amsterdam. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response and Rejoinder DOES PHILOSOPHY NEED LITERATURE? a critical response by Hugh Mercer Curtler In the second issue of this journal,1 Jesse Kalin argues most provocatively that "philosophy needs literature" because the latter is capable of "rehearsing and exhibiting," as philosophy is not, "the moral construction of one's own life, namely that part of it in which concern and value" are involved (p. 182). Two of John Barth's (...) novels— The Floating Opera and The End of The Road—are used as examples and, according to Kalin, provide evidence for his thesis that philosophical novels present a certain kind of philosophical material in the only way it can be presented. More specifically, Kalin claims that these two novels (1) are both about nihilism, (2) advance the philosophical argument that nihilism is false, and (3) present this argument in a way it could not otherwise be presented. In Kalin's words, "the philosophical argument of these two novels cannot be presented in the normal non-literary mode exemplified by the essay and journal article" (p. 178). I shall examine each of these claims in turn. To say that Barth's novels are "about" moral nihilism is either trivially true or wrong-headed. If Kalin means that the novels "have to do with" moral nihilism, this is^ certainly true but not very significant. We might also say The End of The Road is about illegal abortion, the delights of teaching in a community college, or the trials and tribulations of a bachelor in a small town in Maryland. It appears, then, that Kalin has something more in mind; namely, that the point of the novel is an examination of moral nihilism. That this is indeed Kalin's intention would seem apparent from the second claim listed above: that Barth's novels argue that moral nihilism is "false." I shall examine the question ofwhether these novels "argue" the falsity of moral nihilism in a moment, but first I must raise an objection to the prior claim that such is the point of the novel. A novel does not make a point; it makes a great many points, it 110 Hugh Mercer Curtler111 provokes thought and raises questions, it suggests possibilities, it states truths (plural), and above all else it presents dramatically. That is to say, insofar as the novel is a work of art it does these things, and it is primarily a work of art. In terms of the contents of the novel, what we find is a host of images, thought fragments, figures, suggestions, hints, bits and pieces, and —if the novelist is a good one, like Barth—some valuable insights. If the novelist is a great one, then the insights are profound and worthy of repeated examination and reflection, although we may not always be able to make out precisely what the novelist has said; the novelist is a master of disguises and sleight of hand. The way of saying things is for him quite often more important than what is said. It is clear I share with Kalin very few assumptions about the nature of literature, or poetry, and its relationship to philosophy. With regard to his central claim that the "argument" of Barth's novels is (1) philosophical and (2) incapable of being presented in another form, I shall argue that because (2) is true (1) must be false. To prepare the way, I shall begin with a brief examination of the nature of "argument" as it applies in our present context. Kalin states that the argument presented by Barth in the novels is a "literarily advanced exhibitionary argument" (p. 180). What does it mean, though, to say the novel "argues" at all? Kalin surely does not contend that Barth is arguing philosophically in the manner of, say, Gilbert RyIe or even Kalin himself, hence his characterization of the argument as "exhibitionary." Barth's "argument," we must assume, seeks to persuade rather than to prove in any narrow logical sense of that term. Persuasion, in turn, is intuitive rather than reasoned, as suggested by Kalin's insistance that the argument cannot be separated from its literary form. As Kalin would have it, the novelist creates a... (shrink)

Designed to immediately engage students and other readers in philosophical reflection, the new edition of Ethical Argument: Critical Thinking in Ethics bridges the gap between ethical theory and practice. This brief introduction combines a discussion of ethical theory with fundamental elements of critical thinking--including informal fallacies and the basics of logic--and uses case studies and practical applications to illustrate concepts. Author Hugh Mercer Curtler presents a carefully formulated critique of ethical relativism, encouraging students to reason along with him and (...) to question his argument at every point. This approach enables students to think systematically about ethical issues and to acquire basic skills in argumentation at the same time. They will learn how to bring principles to bear on ethical conflict, how to weigh pros and cons, how to recognize good ethical reasons, and how to distinguish sound argumentation from rationalization. The second edition of Ethical Argument: Critical Thinking in Ethics includes new exercises and examples, summary boxes, cartoons, and sample dialogues that demonstrate how to effectively debate ethical positions. It features more than forty case studies on ethical issues that are interesting and relevant to students. An ideal core text for courses in introductory ethics, this concise volume can be used along with additional primary sources, case studies, or newspaper articles and novels. It is also a helpful supplementary text for courses in applied ethics--including professional, business, and medical ethics--and in critical thinking. (shrink)

THE ESSAY IS A REPLY TO NORMAN BOWIE'S EARLIER ARTICLE "ASPECTS OF KANT'S PHILOSOPHY OF LAW" IN THE "FORUM" (VOL. II, 4). CONTRARY TO BOWIE, I CONTEND THAT THE NATURAL LAW ELEMENTS PREDOMINATE IN KANT'S PHILOSOPHY OF LAW. THE CITIZEN CONFRONTED BY A CIVIL LAW THAT RUNS COUNTER TO THE MORAL LAW HAS ALTERNATIVES OTHER THAN REBELLION. HE CAN (1) SEEK REFORM OF THE LAW, (2) OFFER 'NEGATIVE RESISTANCE' TO THE LAW, OR (3) 'AVOID SOCIETY ALTOGETHER'-BREAK THE SOCIAL CONTRACT.

Reading good books -- After virtue, what? -- All's fair in war and politics -- Captain relative, be gone! -- Dumbing down the kids -- What became of God? -- The philosopher meets John Madden -- What's on TV tonight? -- Flotsam and Jetsam.

The great leader Heydar Aliyev at both stages of his political leadership through his titanic activity proved that he is the patron of science and education in Azerbaijan. Independent Azerbaijan and its achievements in the field of science and education are the crowning achievement of the great leader. Heydar Aliyev, whose life and work are an example for history and for the people, always paid special attention to the development of science and education and took care of these areas as (...) a priority policy of the state. Although science and education are two independent fields of development, it is impossible to isolate one from the other, and from this point of view, the problems of science and education should be approached comprehensively - as both areas are part of the overall state policy and are of a strategic nature, their integration is inevitable. The national leader repeatedly emphasized that the future of each nation depends on the development of its science and education, and also considered the development of science and education one of the important conditions for the development of an independent state. Against the background of the integration of independent Azerbaijan into the world community, the need to integrate Azerbaijani science and education into world science and education was one of the main priorities in the activities of the world famous politician. To destroy a nation, it is enough to destroy its science and education - in this context, Heydar Aliyev saved the Azerbaijani people from destruction - he repeatedly mentioned that any progress depends on the development of science and education. Having chosen the path of integration into secular education, Azerbaijan paid special attention to this strategic area as one of the important factors of national security after the restoration of independence. (shrink)

The ideas of prominent statesmen and politicians who served to preserve and transmit the traditions of statehood to future generations are always relevant. The ideas of Heydar Aliyev, who occupied an invaluable place in the history of the construction and national development of the Republic of Azerbaijan, who was awarded the high title of national leader by the people, put forward new calls for peace and cooperation in the post-conflict period. The 30-year period that has passed since the restoration of (...) state independence has once again confirmed that the brilliant victory of the Azerbaijani Army in the 44-day Patriotic War is based on the ideas and political ideology of Heydar Aliyev. In the more than two years that have passed since the war, the Republic of Azerbaijan has strengthened its policy at the regional and international levels, and has somewhat increased its socio-economic potential in security conditions. The policy pursued by President Ilham Aliyev, who is currently contributing to the sustainable development of the Azerbaijani state, aimed at protecting the national interests of the Republic as the victorious Supreme Commander, attracts the attention of international organizations and states interested in recognizing the country and cooperating with it. It is the post-conflict period of the country's leadership by President Ilham Aliyev, who, adhering to the ideas of the statehood of Heydar Aliyev, with great pride and honor represents Azerbaijan in the international arena, can be considered an era of revival, logical sequence of ideas and wise policy of the national leader. The achievement of cooperation and development on such a delicate topic as migration, as in all spheres of life in the republic, manifests itself in a short period of time after the war and requires a scientific and theoretical approach to research. The ideas of Heydar Aliyev played an exceptional role in preventing acute emigration, especially intellectual, observed in Azerbaijan in the 1990s. During the reign of Heydar Aliyev, the legal framework of migration legislation was formed in the republic and new documents were consistently signed, as a result of which an independent migration policy of the independent state emerged. The ideas of Heydar Aliyev, which since 1993 formed the basis for the gradual liberation of the country from the socio-economic blockade and attracting international investments to the republic, as well as the reconstruction of industrial enterprises, the launch of factories and plants, the creation of new jobs, progressive steps in education and science, gave rise to national development. In the academic research work, the state programs implemented in the post-conflict period of Heydar Aliyev's ideas, the significant impact of giant projects on labor migration, the positive dynamics observed in the field of migration management in the country were studied, the relevance of the topic was brought to attention, the factual materials used were analyzed and the scientific results obtained were listed. (shrink)

The article deals with the socio-political situation at the beginning of the 19th century in Azerbaijan, the crisis situation of the people and the activities of Hasan bey Zardabi, who was looking for a way out of the situation, and also had an unparalleled service in the education of the people, national self-consciousness and the development of political consciousness. In this direction, his intellectual and practical activity is considered from the point of view of choosing a more convenient means of (...) expressing national ideas - the press, awakening his nation, spreading the idea of national and religious unity. At the same time, the contribution of Hasan bey Zardabi to the awakening of the national self-consciousness of his people, the mobilization of national thinkers to reflect on national problems and the dissemination of the problems of the nation through the media, as well as his general philosophical views and thoughts in the direction of understanding the world, is emphasized. (shrink)

A person should establish a connection between both his material and spiritual worlds and maintain this harmony by establishing harmony between these two worlds. In this sense, a person must have a philosophy of spirituality. Because moral values stand like a beacon above the ideas and thoughts that extend from the individual to the society, from the state to history, from economic order to art and religion. The values and norms that people have to obey in the establishment of social (...) relations constitute the moral philosophy of a person in public life. The source that satisfies this need for a modern human model or personality is the history, literature, cultural and religious tradition of the society in which a person lives. As the famous historical scholar Bernard Lewis said: "In human history, political ideologies such as socialism and capitalism have not offered anything to man in the desired form, so the man of the 21st century will look for his happiness in his historical roots". It is for this reason that in the Turkish world in recent times, "the need for our people to turn to the history of philosophical thought in order to review the traditional sources of spirituality with the possibilities of modern times" has been voiced as the main principle. Nurettin Topcu, a philosopher who considers spirituality and morality to be one of the elements of the state, says: “Morality and spirituality take their source from religion. Therefore, morality is the basis and direct essence of the Islamic religion. Those who want to separate morality from religion or religion from morality are those who want to see the inner world of a person separate from himself”. We can easily say that this philosophical approach was accepted by the national leader Heydar Aliyev as the main criterion for the formation of the Azerbaijani people as a nation in the 21st century. He was saying: "We will never depart from our faith and religion and we will build our future using these spiritual resources!" As a leader with one or another slogan, he emphasized that our history of philosophical thought is rich in every platform and that it is easy to achieve and implement it in the context of modern possibilities. The article reflects the philosophy of spirituality in general and the context of Heydar Aliyev. (shrink)