The thirteenth and fourteenth centuries in western Europe witnessed many dramatic political innovations and developments. One of the more striking of these phenomena was the territorial expansion of political units. Many local societies which had long maintained important degrees of independence or autonomy were during this period incorporated into larger political entities. By 1300 many of the rulers of western Europe were masters, if only nominally, of territories far vaster than those anyone had ruled since the heyday of the Carolingian (...) Empire around the year 800. (shrink)

IN THE JEWISH—CHRISTIAN SCHISM REVISITED, JOHN HOWARD YODER gives an account of the Jewishness of the politics of Jesus and Pauline Christianity. He rightly claims that irresponsible historiography has presented early Christianity as a departure from the Jewish ways of its time, reading the later schism into the New Testament and belying the Jewishness of Christian ethics. He contends that living in the faithfully Jewish ways of Jeremiah, Jesus, and Paul, as many Jewish communities did up to the time of (...) Jesus and many non-Christian Jewish communities and free churches have done since, is what it means to be the people of God. After an appreciative exposition of Yoder's account and a brief articulation of its theological and ethical stakes, I argue that the biblical witness to the election of Israel troubles his understanding of the people of God as presupposed and conveyed by his revisionist historiography of the Jewish—Christian schism. (shrink)

In order to offer a substantive Christian challenge to modern state violence, the particular character of the modern state cannot be ignored. Nor can New Testament teaching on peace be reduced to flat and generalized ethical imperatives. The subtlety of peace is neglected if either of these two tendencies goes unchecked. After thus framing the question of a Christian response to modern state violence, itself the product of Christian agency among other factors, I offer a New Testament challenge to modern (...) state violence along two lines: refusing the sacrificial political economy characteristic of the modern state, laboring instead at a christological dynamic of gift that takes account of the relative position of agents in the inherited distribution of power and expects more from the strong; observing the limits of state representation for addressing vulnerability to violence, indeed its complicity in that vulnerability, and investing in scales of community commensurate with the subtlety of peace. (shrink)

The notion that we spring into existence ex nihilo at birth strikes many people as counter-intuitive. By contrast, the idea that we have an eternal identity appeals to some deep intuition about the self. And indeed, belief in the soul's pre-mortal existence has a long history in Western thought. Terryl Givens offers the first systematic exploration of this fascinating if generally unfamiliar feature of Western cultural history.

Feminism is going to ruin your life--in the best way possible--because society screams numerous messages every moment about how women must look, act, and speak in order to earn their right to be seen and heard. The only thing any human needs to do in order to earn their right to exist, however, is to exist. Break free of the insidious narratives that hold you back from being your most authentic self.

This is the first complete edition of the Chronicon Anonymi Cantuariensis, a contemporary narrative that provides valuable insights into medieval war and diplomacy, written at Canterbury shortly after the mid-fourteenth century. The previous edition, published in 1914, was based on a manuscript from which the text for the years 1357 to 1364 was missing. Presented here in full with a modern English translation, the chronicle provides a key narrative of military and political events covering the years from 1346 to 1365. (...) Concentrating principally on the campaigns of the Hundred Years War and their impact upon the inhabitants of south-east England, the author took advantage of his position on the main news route between London and Paris to provide a detailed account of a crucial phase in British and European history. (shrink)

The neuroscience revolution has revived interpretations of religious experiences as wholly dependent on biological conditions. William James cautioned against allowing such neurological reductionism to overwhelm other useful perspectives. Contemporary psychologists of religion have raised similar cautions, but have failed to engage James as a full conversation partner. In this article, we present a contemporary, applied version of James's perspective. We clarify the problem by reviewing specific James-like contemporary concerns about reductionism in the neuropsychological study of religion. Then, most centrally, we (...) employ three of James's conceptual tools—pragmatism, pluralism, and radical empiricism—to moderate contemporary reductionism. Finally, we point to a constructive approach through which neuroscientists might collaborate with scholars in the humanities and psychosocial sciences, which is consistent with our conclusion that it is often no longer fruitful to separate neurobiological studies from studies that are psychosocial or sociocultural. (shrink)

Researchers have documented negative physical and emotional consequences for both family caregivers of persons with cancer as well as caregivers of persons with a neurologic disorder. However, there is a unique subset of caregivers who must provide care for someone who may suffer from both a short, terminal trajectory of disease, as well as neurological and neuropsychiatric sequelae — the caregiver of a person with a primary malignant brain tumor. The purpose of this article was to describe a conceptual framework (...) for providing care for a person with a primary malignant brain tumor. The demands of this particular care situation are described, as well as potential resources available to the caregiver to meet those demands. Finally, the stress response that results from the balance between care demands and caregiver resources is illustrated. Development of a conceptual framework for this caregiving population is the first step in assisting nurses to identify factors that place caregivers of persons with a primary malignant brain tumor at risk for negative consequences, and to design interventions to improve caregiver health. (shrink)

Traditional combinatory logic uses combinators S and K to represent all Turing-computable functions on natural numbers, but there are Turing-computable functions on the combinators themselves that cannot be so represented, because they access internal structure in ways that S and K cannot. Much of this expressive power is captured by adding a factorisation combinator F. The resulting SF-calculus is structure complete, in that it supports all pattern-matching functions whose patterns are in normal form, including a function that decides structural equality (...) of arbitrary normal forms. A general characterisation of the structure complete, confluent combinatory calculi is given along with some examples. These are able to represent all their Turing-computable functions whose domain is limited to normal forms. The combinator F can be typed using an existential type to represent internal type information. (shrink)

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

The first IVF baby was born in the 1970s. Less than 20 years later, we had cloning and GM food, and information and communication technologies had transformed everyday life. In 2000, the human genome was sequenced. More recently, there has been much discussion of the economic and social benefits of nanotechnology, and synthetic biology has also been generating controversy. This important volume is a timely contribution to increasing calls for regulation - or better regulation - of these and other new (...) technologies. Drawing on an international team of legal scholars, it reviews and develops the role of human rights in the regulation of new technologies. Three controversies at the intersection between human rights and new technology are given particular attention. First, how the expansive application of human rights could contribute to the creation of a brave new world of choice, where human dignity is fundamentally compromised; second, how new technologies, and our regulatory responses to them, could be a threat to human rights; and, third, how human rights could be used to create better regulation of these technologies. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Adoro Te Devote of St. Thomas AquinasSr. Lucia Marie of the Visitation Langford O.P.The Adoro te devote is perhaps the most well-beloved Eucharistic hymn of our time, popularly attributed to St. Thomas Aquinas, the medieval Dominican friar known for his theological treatises as well as his Eucharistic hymnography. Unlike most of Aquinas's work, the poem reveals the intensely personal side of his faith. Rich in theological content and (...) inspiring deep Eucharistic devotion, this poem amply repays a closer investigation. We will look first at the questions of authorship, background, and structure before moving on to a discussion of the text itself.The "Disputed Question" of AuthorshipWhile the Adoro te has traditionally been attributed to St. Thomas Aquinas, the Thomistic authorship of the text was contested in the twentieth century, with two main objections being raised. The first claims that the content of the poem contradicts Thomas's own teachings and cannot have flowed from the same pen. The second objection is historical, claiming that a lack of evidence makes Thomistic authorship improbable.The first objection, claiming that the content of the poem is irreconcilable with Thomistic authorship, takes objection to a line in the poem which seems to claim that sense perception is unreliable and inaccurate, at least with regard to the Eucharist. The text of the Adoro te uses the word fallitur (deceived) with reference to the senses: "Visus, tactus, gustus in te fallitur"—"Sight, touch, taste in you are deceived." Some scholars have claimed that this line contradicts the teaching of Aquinas that the senses are [End Page 365] infallible in regard to their proper sensibles.1 Robert Wielockx addresses this charge in his study of the Adoro te, arguing that "the text does not contradict the continuous teaching of Thomas according to which the senses are not wrong when they judge their proper object, which as far as the Eucharist is concerned, is only the sacramental species."2 The substantial presence of Christ in the Eucharist is a mystery which is not knowable by the senses, and as Paul Murray, O.P., observes: "That's surely the point St. Thomas is making."3 However, the Thomistic insistence that all knowledge comes through our senses is not missing even here. While sight, touch, and taste fall short of comprehending the truth before them, the Adoro te itself proclaims that it is another sense—hearing—which reveals the mystery: "sed auditu solo tute creditur"—"but by hearing alone it is safely believed."4Thus there is no solid objection to Thomistic authorship based on the poem's content. But what about the historical evidence? Dom André Wilmart published a comprehensive study of the manuscript tradition in 1929. Noting that there were no extant copies of the text dating to Aquinas's lifetime and that the biography of Aquinas written by his own Dominican confrere and contemporary, William of Tocco, made no mention of the Adoro te, he considered it most probable that the poem was authored at a later date and ascribed to Aquinas.5However, Dom Wilmart did not know that he was not working with William of Tocco's final version of his work. The publication of a critical edition of William of Tocco's Ystoria Sancti Thome de Aquino in 1996 demonstrated that Tocco published his work in four successive redactions. The fourth and final version of his text (unknown to Dom Wilmart) was finished just before his death in 1323, and in this final version, Tocco includes the text of the Adoro te, attributing its authorship to St. Thomas.6 [End Page 366] Furthermore, Wielockx published a study of the Adoro te in 1998; his investigation of the manuscript tradition found that, of fifty-one sources, forty-four explicitly cite St. Thomas as their author. The remaining sources simply lacked any attribution. We may thus conclude with Wielockx: "External evidence, which must be given priority in sound criticism, wholly favors Thomas Aquinas's authorship of the poem."7BackgroundWith the attribution of the poem to St. Thomas Aquinas on secure footing, we now move to the background of the poem. Unlike Aquinas's Eucharistic hymns such as... (shrink)

In the last two centuries, our world would have been a safer place if philosophers such as Rousseau, Marx, and Nietzsche had not given intellectual encouragement to the radical ideologies of Jacobins, Stalinists, and fascists. Maybe the world would have been better off, from the standpoint of sound practice, if philosophers had engaged in only modest, decent theory, as did John Stuart Mill. Yet, as Ronald Beiner contends, the point of theory is not to think safe thoughts; the point (...) is to open intellectual horizons. In Philosophy in a Time of Lost Spirit, Beiner reflects on the dualism of theory and practice. The purpose of the theorist is not to offer sensible guidance on the conduct of social life but to test the boundaries of our vision of social order. Whereas the liberal citizen should embody the practical virtues of prudence and moderation, the theorist should be radical, probing, and immoderate. Looking back at the liberal-communitarian debate of the 1980s, Beiner recognizes that the antidote to our spiritless times lies neither in the embrace of community over individualism nor of individualism over community: both individual and community need to be submitted to radical questioning. It is by exposing ourselves to the challenge of fearless thinking encountered at the philosophical extremities that we are most likely to understand our own world at a deeper level. In this collection of essays and reviews, Ronald Beiner helps us to think critically about the thought-worlds of our foremost contemporary thinkers, including Hannah Arendt, Allan Bloom, Michel Foucault, Hans-Georg Gadamer, J¦rgen Habermas, Will Kymlicka, Christopher Lasch, Richard Rorty, Judith Shklar, Leo Strauss, Charles Taylor, and Michael Walzer. (shrink)

Wilfrid Sellars’ denunciation of the Myth of the Given was meant to clarify, against empiricism, that perceptual episodes alone are insufficient to ground and justify perceptual knowledge. Sellars showed that in order to accomplish such epistemic tasks, more resources and capacities, such as those involved in using concepts, are needed. Perceptual knowledge belongs to the space of reasons and not to an independent realm of experience. Dan Hutto and Eric Myin have recently presented the Hard Problem of Content as (...) an ensemble of reasons against naturalistic accounts of content. In a nutshell, it states that covariance relations—even though they are naturalistically acceptable explanatory resources—do not constitute content. The authors exploit this move in order to promote their preferred radical enactivist and anti-representationalist option, according to which, basic minds—the lower stratum of cognition—do not involve content. Although it is controversial to argue that the Hard Problem of Content effectively dismisses naturalistic theories of representation, a central aspect of it—the idea that information as covariance does not suffice to explain content—finds support among the defenders of classical cognitive representationalism, such as Marcin Miłkowski. This support—together with the acknowledgment this remark about covariance is a point already made by Sellars in his criticism of the Myth of the Given—has a number of interesting implications. Not only is it of interest for the debates about representationalism in cognitive science, where it can be understood as an anticipatory move, but it also offers some clues and insights for reconsidering some issues along Sellarsian lines—a conflation between two concepts of representation that is often assumed in cognitive science, a distinction between two types of relevant normativities, and a reconsideration of the naturalism involved in such explanations. (shrink)

What is given to us in conscious experience? The Given is an attempt to answer this question and in this way contribute to a general theory of mental content. The content of conscious experience is understood to be absolutely everything that is given to one, experientially, in the having of an experience. Michelle Montague focuses on the analysis of conscious perception, conscious emotion, and conscious thought, and deploys three fundamental notions in addition to the fundamental notion of (...) content: the notions of intentionality, phenomenology, and consciousness. She argues that all experience essentially involves all four things, and that the key to an adequate general theory of what is given in experience lies in giving a correct specification of the nature of these four things and the relations between them. (shrink)

In The Mind and the World Order, C.I. Lewis made a famous distinction between the immediate data ‘which are presented or given to the mind’ and the ‘construction or interpretation’ which the mind brings to those data (1929: 52). What the mind receives is the datum – literally, the given – and the interpretation is what happens when we being it ‘under some category or other, select from it, emphasise aspects of it, and relate it in particular and (...) unavoidable ways’ (1929: 52). So although any attempt to describe the given will inevitably be an interpretation of it, this should not give us reason to deny its existence: ‘no-one but a philosopher could for a moment deny this immediate presence in consciousness of that which no activity of thought can create or alter’ (1929: 53). Whatever those outside philosophy might think, Lewis was certainly right about what philosophers were prepared to deny. His conception of the ‘given’ is without question one of the targets of Wilfrid Sellars’s influential critique of the notion of the ‘whole framework of givenness’ (1957).1 One of the things Sellars was attacking was the idea that something that was merely given by the senses could put one in a position to be justified in making a judgement about the empirical world. The.. (shrink)

How are we to account for the epistemic contribution of our perceptual experiences to the reasonableness of our perceptual beliefs? It is well known that a conception heavily influenced by Cartesian thinking has it that experiences do not enable the experiencing subject to have direct epistemic contact with the external world; rather, they are regarded as openness to a kind of private inner realm that is interposed between the subject and the world. It turns out that if one wants to (...) insist that perceptual experiences provide epistemic reasons for perceptual beliefs about the external world as we pre-reflectively take it to be, then one should find a way of avoiding Cartesianism. Here are the two main aims of this paper: firstly, identify the premise that is doing the heavy-lifting work in the Cartesian thinking; and, secondly, formulate an adequate way of denying that premise. The adequacy I claim for my formulation of a way of denying the premise will roughly amount to this: the way I offer is not as susceptible to Cartesian traps as other apparently available ways of denying the premise are. (shrink)

The major part of our beliefs and our knowledge of the world is based on, or grounded in, sensory experience. But, how is it that we can have perceptual beliefs that things are thus and so, and, moreover, be justified in having them? What conditions must experience satisfy to rationally warrant, and not merely to cause, our beliefs? Against the currently very popular contention that experience itself already has to be propositionally and conceptually structured, I will rehabilitate the claim that (...) there is given element in experience which is independent of thought and which is possessed of a distinctive nonpropositional and nonconceptual content. Further, I will argue that this given element is indeed fit to play a significant evidential role in the justification of our beliefs about the world. (shrink)

The major part of our beliefs and our knowledge of the world is based on, or grounded in, sensory experience. But, how is it that we can have perceptual beliefs that things are thus and so, and, moreover, be justified in having them? What conditions must experience satisfy to rationally warrant, and not merely to cause, our beliefs? Against the currently very popular contention that experience itself already has to be propositionally and conceptually structured, I will rehabilitate the claim that (...) there is given element in experience which is independent of thought and which is possessed of a distinctive nonpropositional and nonconceptual content. Further, I will argue that this given element is indeed fit to play a significant evidential role in the justification of our beliefs about the world. (shrink)

The Doctrine of the Given The Myth of the Given A Methodological Problem To a convinced foundationalist, the project of establishing the existence of the ...

The given is the state of a mind in its primary engagement with the world. A satisfactory epistemology—one, it turns out, that is foundationalist and includes a naïve realist view of perception—requires a certain account of the given. Moreover, knowledge based on the given requires both a particular view of the world itself and a heterodox account of judgment. These admittedly controversial claims are supported by basic ontological considerations. I begin, then, with two contradictory views of the (...) world per se and the structure one experiences. I draw out the consequences of these two views for what intentionality is. The two views yield incompatible accounts of the given. The definitive spontaneity of the one account, and passivity of the other, can be understood in terms of the structure (or lack thereof) in the given. In defense of the claim that a structured given is not an apt epistemic basis, I examine an attempt to found an epistemology on such an account in light of the so-called myth of the given. I maintain that the given, if it is to provide some justification for taking the world to be a particular way, must be unstructured. To support this, I first discuss a significant problem with traditional foundationalism. I then argue that a satisfactory (foundationalist) epistemology requires the rejection of the orthodox propositional view of judgment in favor of a non-propositional, reistic view. (shrink)

"In The Givenness of Desire, Randall S. Rosenberg examines the human desire for God through the lens of Lonergan's "concrete subjectivity." Rosenberg engages and integrates two major scholarly developments: the tension between Neo-Thomists and scholars of Henri de Lubac over our natural desire to see God and the theological appropriation of the mimetic theory of René Girard, with an emphasis on the saints as models of desire. With Lonergan as an integrating thread, the author engages a variety of thinkers, including (...) Hans Urs von Balthasar, Jean-Luc Marion, René Girard, James Alison, Lawrence Feingold, John Milbank, among others. The theme of concrete subjectivity helps to resist the tendency of equating too easily the natural desire for being with the natural desire for God without at the same time acknowledging the widespread distortion of desire found in the consumer culture that infects contemporary life. The Givenness of Desire investigates our paradoxical desire for God that is rooted in both the natural and supernatural."--. (shrink)

Other people figure in our experience of the world; they strike us as unique and gen- uinely other. This paper explores whether a Husserlian account of empathy as the way in which we constitute an intersubjective world can account for the uniqueness and otherness of other people in our experience. I contend that it can’t. I begin by explicating Husserl’s theory of empathy, paying particular attention to the reduction to a purely egoic sphere and the steps that ostensibly permit a (...) subject to re-inhabit a world of others from out of this sphere. In querying Husserl’s theory, I consider a series of problems, raised by Zhida Luo, concerning the apparent centrality of bod- ily similarity in empathy. I sketch Luo’s solution, which involves a shift to tactile similarity. While it makes for a better theory of empathy, this solution isn’t sufficient to make room for the givenness of another person not originally predicated on simi- larity. To clarify what’s at issue here, I turn to the Husserlian pictures of empathy presented by Heinz Kohut and Edith Stein. I conclude with a remark about what might be required, given the inability of Husserlian empathy to make room for the experience of others as singular and other, for a picture of our phenomenal life to have a shape that accounts for the coexistence of empathy to others who are like oneself and hospitality to others as genuine others. (shrink)

The aim of this article is to present and discuss the language of the «givens», a typical stylistic resource of Greek mathematics and one of the major features of the proof format of analysis and synthesis. I shall analyze its expressive function and its peculiarities, as well as its general role as a deductive tool, explaining at the same time its particular applications in subgenres of a geometrical proposition like the locus theorems and the so-called «porisms». The main interpretative theses (...) of this study are the following: the language of the «givens» (1) is the standard idiom in which “existence and uniqueness” of a mathematical object was proved, (2) was conceived as an unified framework reducing to a strictly deductive format disparate argumentative steps such as deductions, constructions, and calculations. (shrink)

This paper evaluates the following argument, suggested in the writings of Donald Davidson: if there is such a thing as the given, then there can be alternative conceptual schemes; there cannot be alternative conceptual schemes; therefore there is no such thing as the given.

The rise of learning analytics, the application of complex metrics developed to exploit the proliferation of ‘Big Data’ in educational work, raises important moral questions about the nature of what is measurable in education. Teachers, schools and nations are increasingly held to account based on metrics, exacerbating the tendency for fine-grained measurement of learning experiences. In this article, the origins of learning analytics ontology are explored, drawing upon core ideas in the philosophy of computing, such as the general definition of (...) information and the information-theoretic account of knowledge. Drawing upon a reading of Descartes Meditatio II, which extends the phenomenology of Jean-Luc Marion into a pedagogy of intentionality, the article identifies a fundamental incompatibility between the subjective experience of learning and the information-theoretic account of knowledge. Human subjects experience and value their own information incommensurably with the ways in which computers measure and quantify information. The consequences of this finding for the design of online learning environments, and the necessary limitations of learning analytics and measurement are explored. (shrink)

This chapter contains sections titled: Notes References.

The paper presents a brief survey of recent work by Metakides, Nerode and others in the area of effective algebra and makes some comments on the relation between formal presentations, characterizations, etc. of sets and of algebraic structures and their practical presentations.