Humanist sociologists are activists rooted in the reality of history and change and guided by a concern for the 'real life' problems of equality, peace, and social justice. They view people as active shapers of social life, capable of creating societies in which everyone's potential can unfold. Alfred McClung Lee introduces this volume with 'Sociology: Humanist and Scientific' and develops the theme that a sociology that is humanist is also scientific. The other nine selections are grouped into four parts: 'The (...) Individual and Social Life;' 'Social Institutions: Technology, Science, and Formal Organization;' 'Political Structures: Issues of Justice and Equality;' and 'Methodological Critiques and Counterproposals.'. (shrink)

[Alistair Elliot:] Inside the margins of a bookthrough the screen doors of inkyou find yourself among explained peoplewhom you imagine from one clue, or two,people you cannot bore or smell,who will not love you or seduce your friend.They have names out of telephone books—Baggish and Schreiber—but of course they are not real. [Richard Stern:] Dear Mr. Elliot. Or—for these lines anyway—Dear Alistair .I wish I were as fictional as BaggishAnd could answer with impalpable visibility,but here I am, beside a (...) Dutch canal,two hundred clumsy poundsand one American election older than you.Your poem is on the bed beside my socks. Alistair Elliot is the author of Air in the Wrong Place, a collection of his poetry, and has translated Euripides' Alcestis and Aristophanes' Peace. He is presently compiling a new collection of his verse entitled Contentions. In addition to the novel which generated this poetic exchange, Richard Stern's works include the fictions Golk, In Any Case, and Other Men's Daughters, and an "orderly miscellany," The Books in Fred Hampton's Apartment. (shrink)

In most groups, there’s a sort of commedia del l’arte distribution of roles. In families, factories, universities, corporations, people are known not only for their work, their looks, their social and economic status, but also for the characters they assume in the organization. So there are clowns and those who laugh at them, there are leaders and there are followers; some followers are worshipful, some resentful. Most people put on their organization-character as they put on their uniforms. It doesn’t mean (...) that the character isn’t related to their temperament—they have, after all, chosen it as they have chosen what they wear—but it never represents all of what they are and often represents very little. It is a convenience, a way of smoothing the roughness of interaction.At a congress of writers, things are somewhat different. At the PEN Congress there were the clowns—writers, say, like Salman Rushdie, the young Anglo-Indian novelist; there were dour, dynical observers from the periphery—I think of Sven Delblanc, the Swedish novelist; there were writers who’s pulled themselves out of Pleistocene social pockets which they’d barely survived and which they record: here I think of Kenji Nakagami, the Japanese novelist, screenwriter, and critic. Richard Stern’s Noble Rot, Stories 1949-88, will be published in the fall of 1988. (shrink)

“Writers don’t have tasks,” said Saul Bellow in a Q-and-A. “They have inspiration.”Yes, at the typewriter, by the grace of discipline and the Muse, but here, on Central Park South, in the Essex House’s bright Casino on the Park, inspiration was not running high.Not that attendance at the forty-eight PEN conference was a task. It was rather what Robertson Davies called “collegiality.” “A week of it once every five years,” he said, “should be enough.” He, Davies, had checked in early, (...) Saturday afternoon, and attended every session. In black overcoat and black fur cap, he had a theatrical, Man-Who-Came-to-Dinner look. In the lobby he made a great impression.Why not? After all, weren’t writers here to be seen as well as to see each other, to make as well as take impressions? A month before, I’d spent a couple of hours at the Modern Language Association convention. There were thousands and thousands of scholars and critics there. Some of the most noted make a career of squeezing authors out of their texts. An author, wrote one tutelary divinity, “constitutes the privileged moment of individualization in the history of ideas, knowledge, [and] literature….”1 Not content with auctoricide, deconstructionist critics went after texts. “Il n’y a pas de hors-texte.”2 Since there’s nothing that doesn’t belong to the text, texts are interchangeable. And it’s not that superfluous, mythical being, the author, who decides they are, but his readers, at least those readers capable of erecting on his miserable pedestal—the poem, the story, the novel—a memorable explication.Ah well, was my thought, for some people a corpse will serve as well as a person. Indeed, for intellectual undertakers, hit-men, and cannibals, as well as for those who suffer the tyranny of authority, corpses are preferable to their living simulacra.Few authors at the PEN conference were troubled by these critical corpse-makers. They were here to see the authors behind the books they’d read, to swap stories and opinions, and to make clear to each other what splendid thinkers and noble humans they were outside of the poems and stories which had brought them here in the middle of winter and New York. In this city, more than any other in the history of the word, the word had been turned into gold. If one were going to abandon the typewriter for the podium, what better place to do it? In 1985, Richard Stern was given the Medal of Merit, awarded every six years to a novelist by the American Academy and Institute of Arts and Letters. He is the author of, among other works, the novels A Father’s Words , Other Men’s Daughters , and Stitch . His third “orderly miscellany,” The Position of the Body, will be published in September 1986. This essay is part of a longer work. Stern is professor of English at the University of Chicago. (shrink)

In 1932 Ludwig Wittgenstein accused Rudolf Carnap of plagiarism and seems to have gone so far as to scrawl the word ‘Plagiarism’ on one of Carnap’s offprints and initial that note as well. Priority disputes are inherently distasteful and usually sterile. And they are often impossible to adjudicate fully. I make no such attempt here. But these disputes can also be revealing about what the participants thought they were doing and what they thought they had achieved. It is in this (...) latter vein that I revisit the 1932 dispute. My primary focus will be on Carnap, and I begin by examining the accounts of the dispute by three distinguished philosopher/historians, Jaakko Hintikka, Thomas Uebel, and David Stern. The aim is not a verdict on Wittgenstein’s charge of plagiarism, but to see what the dispute and surrounding documents show about how Carnap’s views were developing in the early thirties, what antecedents those ideas may have had (including in Wittgenstein), and how Carnap saw the changes in his views. (shrink)

This paper considers the prospects for the current revival of interest in Hegel, and the direction it might take. Looking back to Richard J. Bernstein's paper from 1977, on ‘Why Hegel Now?’, it contrasts his optimistic assessment of a rapprochement between Hegel and analytic philosophy with Sebastian Gardner's more pessimistic view, where Gardner argues that Hegel's idealist account of value makes any such rapprochement impossible. The paper explores Hegel's account of value further, arguing for a middle way between these (...) extremes of optimism and pessimism, proposing an Aristotelian reading which is more metaphysical than Bernstein recognizes, but not as at odds with thinking in current analytic philosophy as Gardner suggests, as it finds a counterpart in the work of Philippa Foot, Michael Thompson, Rosalind Hursthouse and others. (shrink)

This is the first comprehensive study of Nietzsche's earliest (and extraordinary) book, The Birth of Tragedy (1872). When he wrote it, Nietzsche was a Greek scholar, a friend and champion of Wagner, and a philosopher in the making. His book has been very influential and widely read, but has always posed great difficulties for readers because of the particular way Nietzsche brings his ancient and modern interests together. The proper appreciation of such a work requires access to ideas that cross (...) the boundaries of conventional specialisms. This is now provided by M. S. Silk and J. P. Stern in their joint study of Nietzsche's book. They examine in detail its content, style and form; its strange genesis and hybrid status; its biographical background and the controversy engendered by its publication; its value as an account of ancient Greek culture and as a theory of tragedy and music; its relation to other theories of tragedy; and its place in the history of German ideas and in Nietzsche's own philosophical career. (shrink)

The starting frame with which jurors begin trials and the approach which they should take toward the presentation of evidence by the prosecution and defense are distinguished. A robust interpretation of the starting frame, according to which jurors should begin trials by presuming the material innocence of defendants, is defended. Alternative starting frames which are less defendant-friendly are shown to cohere less well with the notion that criminal trials should constitute stern tests of the government's case against those it has (...) charged with crimes. The intuitive case for the robust presumption of innocence is supplemented with empirical evidence concerning the psychology of belief formation and preservation. Various objections to the proposed starting frame are addressed. (shrink)

Saeculum: Gedenkschrift für Heinrich Otten anlässlich seines 100. Geburtstags. Edited by Andreas Müller-Karpe; Elisabeth Rieken; and Walter Sommerfeld. Studien zu den Boǧazköy-Texten, vol. 58. Wiesbaden: Harrassowitz Verlag, 2015. Pp. xi + 316, illus. €84.

While it seems to be evident that the vision of the eternal return of the same is the solution to the riddle mentioned in "On the vision and the riddle," exactly what constitutes the riddle is anything but clear. Li ke all good riddles the solution demands a paradigm shift. Nietzsche's riddle is solved by a radical rethinking of the concept of time, from a straight line to a circle. I give a detailed account of how Nietzsche's riddle is formulated (...) in such a way tha t the eternal return of the same is the only possible solution. (shrink)

Knowledge and expertise -- Knowledge and action -- The nature of professional action in urban planning.

What does it mean to take the Bible seriously? This introductory book explores how Scripture itself gives us the resources to read it wisely. First, it looks at the basic questions of reading in context--historical, literary, and theological--and understanding the significance of the two-testament structure of the Christian Bible. Then it looks at how the Bible can itself contribute to shaping a wise doctrine of Scripture. Finally, it considers some of the many hermeneutical perspectives that contribute to reading the Bible (...) wisely. New to this revised edition are chapters addressing the significance of the Old Testament, the performative function of Scripture, and how reading Scripture actually helps form the reader. The aim throughout is to explore key questions critical to the task of reading the Bible generously, constructively, and in a comprehensible way, without oversimplifying core theological issues. (shrink)