The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the (...) possibility of deriving knowledge from a non- aesthetic description. If this were to be a real possibility, it would certainly disprove the Acquaintance Principle, but its impossibility would not establish it. Furthermore, if the way knowledge were to be derived from a non- aesthetic description were through its enabling a person to imagine the object, a defender of the Acquaintance Principle might simply deem imagining to be a form of first-hand experience. I focus on the possibility of acquiring aesthetic knowledge through reliable testimony because here there is a style of argument that, if correct, would rule out the possibility of knowledge of an item's aesthetic properties being transmitted to someone who lacks the requisite first-hand experience, and the manoeuvre of including imagining under the head of first-hand experience is not available. An argument of this kind is, I believe, the only possible way of establishing the Acquaintance Principle. I try to show that this style of argument fails and that the Acquaintance Principle should be rejected. (shrink)

This paper maintains that empathy with fictional characters, aka fictional empathy, is morally valuable insofar as it can provide the empathizer with knowledge of values. More precisely, the paper argues that fictional empathy enables the empathizer to become imaginatively acquainted with the other’s values, even if these values are very different from one’s own. After motivating the topic in the introduction (section 1), the paper presents some thoughts about the epistemology of value and empathy, establishing a distinction between direct and (...) imaginative acquaintance with values (section 2). Next, it argues that empathy can lead the empathizer to co-experience the other’s values and, in so doing, make her directly or imaginatively acquainted with them (section 3). The paper discusses a possible challenge concerning the epistemic function of the imagination and explores different ways in which we can become imaginatively acquainted with values (section 4). It then examines features of fiction that explain why fictional empathy might be better suited than empathy for real others in pursuing this task (section 5). The paper closes by providing some reasons why we should regard the imaginative acquaintance with value attained through fictional empathy as morally valuable (section 6). (shrink)

My primary aim in this paper is to outline a quasi-realist theory of aesthetic judgement. Robert Hopkins has recently argued against the plausibility of this project because he claims that quasi-realism cannot explain a central component of any expressivist understanding of aesthetic judgements, namely their supposed ‘autonomy’. I argue against Hopkins’s claims by contending that Roger Scruton’s aesthetic attitude theory, centred on his account of the imagination, provides us with the means to develop a plausible quasi-realist account of aesthetic judgement. (...) Finally, I respond to two recent attempts to discredit the validity of the notion of aesthetic autonomy. I claim that both fail adequately to address the underlying non-realist motivations and justifications for maintaining the principle. (shrink)

The present work is, as its title indicates, a study of Hume's theory of imagination. Naturally, it is a study of a particular sort. It has a certain scope and limitations, takes a certain line of approach, exhibits certain emphases, has certain ends-in-view, etc. As an initial step in specifying the nature of this study, I shall indicate its central problem, i. e. , that problem to the solution of which the solutions of the various other problems with which it (...) is concerned are merely means. The central problem of this study is that of determining how Hume's theory of im agination is related to, or involved in, the generic features and main lines of argument of his philosophy of the human understanding. The expression "philosophy of the human understanding" is obvious to allude to a restriction on the scope of this investigation. ly intended Actually, it is a title suggested to me by two of Hume's philosophical writings; and to anyone who is even modestly acquainted with these writings, its reference should be no mystery. Hume published the first two so-called "Books" of his A Treatise of Human Nature in 1739. The first of these two Books was entitled "Of the Human Understanding. " Nine years later, he published a work under the title, An Enquiry Con cerning Human Understanding. (shrink)

A cornerstone of Sartre’s philosophy, _The Imaginary_ was first published in 1940. Sartre had become acquainted with the philosophy of Edmund Husserl in Berlin and was fascinated by his idea of the 'intentionality of consciousness' as a key to the puzzle of existence. Against this background, _The Imaginary_ crystallized Sartre's worldview and artistic vision. The book is an extended examination of the concepts of nothingness and freedom, both of which are derived from the ability of consciousness to imagine objects both (...) as they are and as they are not – ideas that would drive Sartre's existentialism and entire theory of human freedom. (shrink)

A cornerstone of Sartre’s philosophy, _The Imaginary_ was first published in 1940. Sartre had become acquainted with the philosophy of Edmund Husserl in Berlin and was fascinated by his idea of the 'intentionality of consciousness' as a key to the puzzle of existence. Against this background, _The Imaginary_ crystallized Sartre's worldview and artistic vision. The book is an extended examination of the concepts of nothingness and freedom, both of which are derived from the ability of consciousness to imagine objects both (...) as they are and as they are not – ideas that would drive Sartre's existentialism and entire theory of human freedom. (shrink)

In a series of papers, Robin Jeshion has forcefully criticized both Donnellan's and Evans’ claims on the contingent a priori, and she has developed an “acquaintanceless” account of singular thoughts as an alternative view. Jeshion claims that one can fully grasp a singular thought expressed by a sentence including a proper name, even if its reference has been descriptively fixed and one’s access to the referent is “mediated” by that description. But she still wants to reject “semantic instrumentalism”, the view (...) that “there are no substantive conditions of any sort on having singular thought. We can freely generate singular thoughts at will by manipulating the apparatus of direct reference.” Her account of singular thoughts is a psychological one, rejecting any epistemic requirement. Having singular thoughts is for her a matter of deploying “mental files” or “dossiers” that play a significant role in the cognitive life of the individual. This paper elaborates on an alternative descriptivist-friendly view, which has important points of contact with Jeshion’s. It differs, particularly in that it is an epistemic view; it is only a broadly understood acquaintance view, as it will transpire, but this does not make it a mere terminological variation on Jeshion’s acquaintanceless one. To argue for it, the paper discusses some relevant aspects of the semantics of fictional discourse. (shrink)

Imagination has played a major role in theories of numerous aesthetic phenomena: it figures in accounts of the interpretation of art, of our emotional responses to art, and even of what art is, to name but a few topics. But imagination seemingly has a role to play also in aesthetic theorising itself, in particular in aesthetic thought experiments. Thought experiments in general pose an epistemic puzzle: how can a merely imagined scenario yield knowledge? In the paper, I have a look (...) at a special version of this puzzle that some thought experiments in aesthetics occasion. Many thought experiments in aesthetics—e.g. Kendall Walton’s guernica-experiment, or Arthur Danto’s imagined eight-hour long film of the title page of Tolstoy’s War and Peace—involve making judgements regarding the aesthetic properties of merely imagined works of art. But according to a widely accepted principle in aesthetics, one has to be acquainted with a work— seen it, heard it, and so on—in order to be able to judge its aesthetic qualities. But no one has ever seen Danto’s merely imagined film of Tolstoy’s book. So how are we in a position to judge its aesthetic properties? I propose a solution to the puzzle by elaborating on Tamar Gendler’s notion of “quasi-observation,” which she holds to be a common element of thought experimenting. As a coda, I also give a sketch of how aesthetic thought experiments are not only a tool for theorising about art, but often also figure in the production of art. (shrink)

For over half a century, scholars have laboured to show that C. S. Lewis's famed but apparently disorganised Chronicles of Narnia have an underlying symbolic coherence, pointing to such possible unifying themes as the seven sacraments, the seven deadly sins, and the seven books of Spenser's Faerie Queene. None of these explanations has won general acceptance and the structure of Narnia's symbolism has remained a mystery. -/- Michael Ward has finally solved the enigma. In Planet Narnia he demonstrates that medieval (...) cosmology, a subject which fascinated Lewis throughout his life, provides the imaginative key to the seven novels. Drawing on the whole range of Lewis's writings (including previously unpublished drafts of the Chronicles), Ward reveals how the Narnia stories were designed to express the characteristics of the seven medieval planets - - Jupiter, Mars, Sol, Luna, Mercury, Venus, and Saturn - - planets which Lewis described as "spiritual symbols of permanent value" and "especially worthwhile in our own generation". Using these seven symbols, Lewis secretly constructed the Chronicles so that in each book the plot-line, the ornamental details, and, most important, the portrayal of the Christ-figure of Aslan, all serve to communicate the governing planetary personality. The cosmological theme of each Chronicle is what Lewis called 'the kappa element in romance', the atmospheric essence of a story, everywhere present but nowhere explicit. The reader inhabits this atmosphere and thus imaginatively gains connaître knowledge of the spiritual character which the tale was created to embody. -/- Planet Narnia is a ground-breaking study that will provoke a major revaluation not only of the Chronicles, but of Lewis's whole literary and theological outlook. Ward uncovers a much subtler writer and thinker than has previously been recognized, whose central interests were hiddenness, immanence, and knowledge by acquaintance. (shrink)

The focus of this paper is Cassirer’s Neo-Kantian reading of Kant’s conception of unity of space. Cassirer’s neo-Kantian reading is largely in conformity with the mainstream of intellectualist Kant-scholars, which is unsurprising, given his own intellectualist view of space and perception and his rejection of the existence of a ‘merely sensory consciousness’ as a ‘formless mass of impression’. I argue against Cassirer’s reading by relying on a Kantian distinction first recognized by Heinrich Rickert, a neo-Kantian from the Southwest school, between (...) Kenntnis (roughly knowledge by acquaintance) and Erkenntnis (roughly propositional knowledge). Correspondingly, I claim that concepts and categories are conditions for Erkenntnis of objects as such, namely for thinking of and apprehending the pre-existing unity as an object, rather than for the ‘constitution’ of this very unity. (shrink)

L. A. Paul’s Transformative Experience makes the claim that many important life decisions are epistemically and personally transformative in a way that does not allow us to assign subjective values to their outcomes. As a result, we cannot use normative decision theory to make such decisions rationally, or when we modify it to do so, decision theory leads us to choose in a way that is in tension with our authenticity. This paper examines Paul’s version of decision theory, and whether (...) this version in fact admits of the challenge she wants to raise. I focus on her psychological realist view of utilities and beliefs and her notion of rational, authentic preferences as informed by imaginative acquaintance. I argue that Paul fails to engage critically with traditional accounts of decision theory and, on closer inspection, it is not clear that her version of decision theory entails a tension between rational and authentic choice. More importantly, I argue that if her contribution is instead to bring to light the importance of authenticity alongside rational decision-making, the definition she provides of authenticity in fact undermines her argument. (shrink)

Horace recommended that poets "mingle the useful and the sweet"; but the champions of an ethical function for art have yet to explain how moral and aesthetic values can truly be mingled. Their proposed ethical functions too often seem irrelevant to what we most care about in art. Moreover, we need an explanation of what art has to show us that is of ethical significance, and that we don't already know. ;The answer is to be found in the "thick concepts" (...) , which purport to provide reasons to feel and to act. Thick concepts are response-dependent, in that our application of them is guided by certain quasi-emotional responses, which they purport to warrant. These responses, I argue, are given content by their role in an ethical perspective, a value-laden "way of seeing" the world. Morality's aspirations to objectivity require that we gain imaginative acquaintance with the thick concepts of alien perspectives, without which real normative confrontation would be impossible. Fiction thus serves an ethical function by expanding our capacities of moral perception. ;Narrative art is uniquely well-suited to this task, because to give a reading of a story is to make sense of its characters and events in value-laden, emotional terms. Our engagement with fiction thus involves understanding the ethical perspectives that inform the text. This model of art's ethical function is immune to formalist challenges. Moreover, it answers the formidable hermeneutic and epistemological problems on which traditional theories founder. (shrink)

We investigate the nature of the sense of presence that usually accompanies perceptual experience. We show that the notion of a sense of presence can be interpreted in two ways, corresponding to the sense that we are acquainted with an object, and the sense that the object is real. In this essay, we focus on the sense of reality. Drawing on several case studies such as derealization disorder, Parkinson’s disease and virtual reality, we argue that the sense of reality is (...) two-way independent from the spatial and sensory contents of experience. We suggest that the sense of reality is an affective experience akin to a metacognitive feeling. Finally, we present a potentially important implication of our account for the current debate between Intentionalism and Naïve Realism. Since perception is “opaque” with respect to the reality of what is perceived, Intentionalism cannot refer to the sense of reality as what differentiates perception from sensory-like experiences such as imaginings. In contrast, Naïve Realism has an independent explanation of the specificity of perception. (shrink)

When we evaluate artworks, we often point to what an artist could have done or what a work could have been in order to say something about the work as it actually is. Call this counterfactual reasoning in art criticism. On my account, counterfactual claims about artworks involve comparative aesthetic judgments between actual artworks and hypothetical variations of those works. The practice of imagining what an artwork could have been is critically useful because it can help us understand how artworks (...) achieve specific aesthetic effects. I conclude by responding to an objection to my account on the basis that it violates the widely accepted acquaintance principle in aesthetics, on which aesthetic judgments must be based on firsthand perceptual encounters with their objects. (shrink)

Imagine a zombie world that looks “from the outside” just like ours, but where there is no phenomenal consciousness. Creatures that look like us move about just as we do and make the same noises we do, but nobody experiences or feels anything. How much of the epistemic value that’s exemplified in our world survives in that one? The short answer is: any kind of epistemic value that requires the occurrence of consciousness for its exemplification cannot exist in that world, (...) but epistemic value that doesn’t require consciousness can exist. The real question, though, is what kinds of epistemic value require the occurrence of consciousness. We will consider four central epistemic values: justification, truth, acquaintance, and understanding. (shrink)

Counterfactual attitudes like imagining, dreaming, and wishing create a problem for the standard formal semantic theory of de re attitude ascriptions. I show how the problem can be avoided if we represent an agent's attitudinal possibilities using "multi-centered worlds", possible worlds with multiple distinguished individuals, each of which represents an individual with whom the agent is acquainted. I then present a compositional semantics for de re ascriptions according to which singular terms are "assignment-sensitive" expressions and attitude verbs are "assignment shifters".

“There is no use in trying,” said Alice; “one can’t believe impossible things.” “I dare say you haven’t had much practice,” said the Queen. “When I was your age, I always did it for half an hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast”. Lewis Carroll, Through the Looking Glass. -/- It is a rather common view among philosophers that one cannot, properly speaking, be said to believe, conceive, imagine, hope for, or seek (...) what is impossible. -/- Some philosophers, for instance George Berkeley and the early Wittgenstein, thought that logically contradictory propositions lack cognitive meaning (informational content) and cannot, therefore, be thought or believed. Philosophers who do not go as far as Berkeley and Wittgenstein in denying that impossible propositions or states of affairs are thinkable, may still claim that it is impossible to rationally believe an impossible proposition. On a classical “Cartesian” view of belief, belief is a purely mental state of the agent holding true a proposition p that she “grasps” and is directly acquainted with. But if the agent is directly acquainted with an impossible proposition, then, presumably, she must know that it is impossible. But surely no rational agent can hold true a proposition that she knows is impossible. Hence, no rational agent can believe an impossible proposition. Thus it seems that on the Cartesian view of propositional attitudes as inner mental states in which proposition are immediately apprehended by the mind, it is impossible for a rational agent to believe, imagine or conceive an impossible proposition. -/- Ruth Barcan Marcus (1983) has suggested that a belief attribution is defeated once it is discovered that the proposition, or state of affairs that is believed is impossible. According to her intuition, just as knowledge implies truth, belief implies possibility. -/- It is commonplace that people claim to believe propositions that later turn out to be impossible. According to Barcan Marcus, the correct thing to say in such a situation is not: I once believed that A but I don’t believe it any longer since I have come to realize that it is impossible that A. What one should say is instead: It once appeared to me that I believed that A, but I did not, since it is impossible that A. Thus, Barcan Marcus defends what we might call Alice’s thesis: Necessarily, for any proposition p and any subject x, if x believes p, then p is possible. -/- Alice’s thesis that it is impossible to hold impossible beliefs, seems to come into conflict with our ordinary practices of attributing beliefs. Consider a mathematical example. Some mathematicians believe that CH (the continuum hypothesis) is true and others believe that it is false. But if CH is true, then it is necessarily true; and if it is false, then it is necessarily false. Regardless of whether CH is true or false, the conclusion seems to be that there are mathematicians who believe impossible propositions. -/- Examples of apparent beliefs in impossible propositions outside of mathematics are also easy to come by. Consider, for example, Kripke’s (1999) story of the Frenchman Pierre who without realizing it has two different names ‘London’ and ‘Londres’ for the same city, London. After having arrived in London, Pierre may assent to ‘Londres is beautiful and London is not beautiful’ without being in any way irrational. It seems reasonably to infer from this that Pierre believes that Londres is beautiful and London is not beautiful. But since ‘Londres’ and ‘London’ are rigid designators for the same city, it seems to follow from this that Pierre believes the inconsistent proposition that we may express as ‘London is both beautiful and not beautiful’. (shrink)

If, as argued in some simulationist accounts, empathy aims at grasping the phenomenal richness of the other’s experience and resonating with it, it is difficult to explain our empathy with emotions that we have never experienced ourselves. According to a long philosophical tradition, imagination is constrained by experience. We have to be acquainted with the qualitative feel of the other’s experience in order to imagine it. A critical view of simulationist accounts would claim that if we cannot imagine how the (...) other feels because we are not acquainted with it, empathy cannot take place. Contrary to such criticism, this paper takes a moderately optimistic view of the simulationist claim. It develops a model to explain how we imagine the other’s emotions by drawing on phenomenal concepts, affective memories, and imaginative scaffoldings. I argue that this model can explain how we empathize with the other’s emotions regardless of whether these are familiar or novel to us. However, in the latter case, the imagined phenomenal quality is not identical but probably only similar to the other’s emotion. This similarity suffices for us to speak about empathy. (shrink)

When you have a perceptual experience of a given physical object that object seems to be immediately present to you in a way it never does when you consciously think about or imagine it. Many philosophers have claimed that naïve realism (the view that to perceive is to stand in a primitive relation of acquaintance to the world) can provide a satisfying account of this phenomenological directness of perceptual experience while the content view (the view that to perceive is (...) to represent the world to be a certain way) cannot. I argue that this claim is false. Specifically, I maintain that the only acceptable naïve realist account of the relevant phenomenology is circular and that the content view can provide a similar account. In addition, I maintain that a certain specific variety of the content view provides a non-circular and thus more satisfactory account of this phenomenology. If so, then contrary to what is commonly assumed there are powerful phenomenological grounds for preferring the content view to naïve realism. (shrink)

Anyone seeking a readable and relatively brief guide to logic can do no better than this classic introduction. A treat for both the intellect and the imagination, it profiles the development of logic from ancient to modern times and compellingly examines the nature of logic and its philosophical implications. No prior knowledge of logic is necessary; readers need only an acquaintance with high school mathematics. The author emphasizes understanding, rather than technique, and focuses on such topics as the historical (...) reasons for the formation of Aristotelian logic, the rise of mathematical logic after more than 2,000 years of traditional logic, the nature of the formal axiomatic method and the reasons for its use, and the main results of metatheory and their philosophic import. The treatment of the Gödel metatheorems is especially detailed and clear, and answers to the problems appear at the end. (shrink)

In his book Mental Files , Francois Recanati develops a theory of mind and language based on the idea that Fregean senses should be identified with ‘mental files’, mental representations whose primary function is to store information about objects. I discuss three aspects of Recanati’s book. The first concerns his use of acquaintance relations in individuating mental files, and what this means for ‘file dynamics’. The second concerns his comments on a theory that I have elsewhere advocated, the ‘sequenced (...) worlds’ or ‘multi-centered worlds’ theory. The third concerns how the mental file approach handles non-doxastic attitudes like imagining. (shrink)

“Adam was hurled into Hindustan. In this land there is a mountain called Serandib, and it is reported that there is no higher mountain in all the universe. Adam landed on this mountain.” The subject of Serendib plays an important role in both the geographical and travel literature of the Arabs. Serendib, or Sarandib, is the transcription of the Singhalese name Sinhaladîpa, which means “island of the descendants of lions” (singha, “lions,” in Singhaly). Already, in the Middle Ages, in the (...) year 949, Arab merchants, who were well acquainted with the island of Ceylon, set up a branch in Colombo. The natural beauty and wealth of the island so touched the imagination of Arab voyagers that it appeared in the sixth voyage of Sinbad the Sailor, and it was also believed that Adam lived on the island after having been driven from Paradise: “The island of Serendib is located directly under the equinoctial line…. Men fish for pearls along its banks and at the mouths of its rivers, and some of its valleys are rich in diamonds. As an act of faith I myself took a trip to the mountain, to the very spot where Adam was banished after being exiled from Paradise. I even climbed to its summit.”This excerpt, from The Thousand and One Nights, well summarizes the feelings of those Arab merchants whose accounts of their travels, in large measure, contributed to the spread of myths and legends about Ceylon. (shrink)

What happens when we glance around a room? How do we trust what we see in fleeting moments? In The World at a Glance, Edward S. Casey describes how glancing counts for more of human perception than previously imagined. An entire universe is perceived in a glance, but our quick and uncommitted attention prevents examination of these rapid acts and processes. While breaking down this paradox, Casey surveys the glance as an essential way by which we acquaint ourselves with the (...) world. This experiential tour-de-force reveals what happens in a blink of an eye. It will become a landmark study in phenomenology, philosophy, environmental philosophy, and the philosophy of mind. (shrink)

I present a concrete DRT-based syntax and semantics for the representation of mental states in the style of Kamp. This system is closely related to Recanati’s Mental Files framework, but adds a crucial distinction between anchors, the analogues of mental files, and attitudes like belief, desire and imagination. Attitudes are represented as separate compartments that can be referentially dependent on anchors. I show how the added distinctions help defend the useful notion of an acquaintance-based mental file against Ninan’s :368–377 (...) 2015) recent challenge involving counterfactual de re attitudes. (shrink)

What happens when we glance around a room? How do we trust what we see in fleeting moments? In The World at a Glance, Edward S. Casey describes how glancing counts for more of human perception than previously imagined. An entire universe is perceived in a glance, but our quick and uncommitted attention prevents examination of these rapid acts and processes. While breaking down this paradox, Casey surveys the glance as an essential way by which we acquaint ourselves with the (...) world. This experiential tour-de-force reveals what happens in a blink of an eye. It will become a landmark study in phenomenology, philosophy, environmental philosophy, and the philosophy of mind. (shrink)

Mental time travel research emphasizes the connection between past and future thinking, whereas autobiographical memory research emphasizes the interrelationship of self and memory. This study explored the relationship between self and memory when thinking about both past and future events. Participants reported events from the near and distant past and future, for themselves, a close friend, or an acquaintance. Past events were rated higher in phenomenological quality than future events, and near self events were rated higher in quality than (...) those about friends. Although future events were more positive than past events, only valence ratings for self and close friend showed a linear increase in positivity from distant past to future. Content analysis showed that this increase in positivity could not be ascribed to choosing events from the cultural life script. These findings provide evidence for the role of personal goals in imagining the future. (shrink)

On the standard Paulian definition of epistemically transformative experiences (ETE), we can’t know what an ETE is like before we have it. ETEs are new kinds of experiences and, importantly, can’t be imagined—this is why they have a unique ability to teach us what a particular experience is like. Contra Paul, some philosophers (Sharadin, 2015; Wilkenfeld, 2016; Ismael, 2019; Kind, 2020; Daoust, 2021; Cath, 2022) have argued that transformative experiences can be imagined. A neglected consequence of this argument is that (...) if transformative experiences can in fact be imagined, then it is unclear how they could be epistemically transformative. What do they teach us if we can imagine what they’re like in advance? I will argue not only that imaginable experiences can be transformative, but that experiences of a kind which an agent is experientially acquainted with can also be transformative. This latter kind of transformative experiences, which I will call familiar transformative experiences, are transformative not because the agent learns what a new kind of experience is like—by definition, they are not new kinds of experiences—but because the transformativeness of the experience is brought out by features of the agent experiencing them. Epistemic transformation in these cases may be explained by facts about the agent’s perspective and social environment, which allow them to appreciate elements of the experience they did not previously. (shrink)

Social persons routinely tell themselves and others richly elaborated autobiographical stories filled with details about deeds, plans, roles, motivations, values, and character. Saul, let us imagine, is someone who once sailed the world as a young adventurer, going from port to port and living a gypsy existence. In telling his new acquaintance, Jess, of his former exotic life, he shines a light on his present character and this may guide to some extent their interaction here and now. Perhaps Jess (...) also spent time at one of these port locations; perhaps their paths might even have crossed. They might be drawn into recounting some common events that indeed do establish a common link. Did they visit a certain famous landmark? Did they meet up at the same bars? And so on. When we open up to friends, acquaintances, colleagues, and close others through the stories we tell them, we do so by revealing bits of ourselves. (shrink)

In what respects is episodic recollection active, and subject to the will, like perceptual imagination, and in what respects is it passive, like perception, and how do these matters relate to its epistemological role? I present an account of the ontology of episodic recollection that provides answers to these questions. According the account I recommend, an act of episodic recollection is not subject to epistemic evaluation—it is neither justified nor unjustified—but it can provide one with a distinctive source of warrant (...) for judgements about the past when it is accompanied by knowledge that one is recollecting, as well as knowledge of what one is recollecting. While the account concedes that when one recollects one's attitude to what is recollected cannot be one of observation, it nevertheless accommodates the notion that episodic recollection involves a form of mental time-travel—a case of re-visiting, or re-acquaintance with, some past episode. (shrink)

The dissertation addresses the mind-body problem, and in particular, the problem of how to fit phenomenal consciousness into the rest of reality. Phenomenal consciousness - the what it’s like feature of experience - can appear to the scientifically inclined philosopher to be deeply mysterious. It is difficult to understand how the swirl of atoms in the void, the oscillation of field values, the firing of synapses, or anything physical can add up to the smells, tastes, feelings, moods, and so forth (...) that comprise our phenomenal experience. There is a series of arguments - the so-called “Conceivability Arguments” - that spells out this puzzlement. If this arguments are successful then there is no place for phenomenal consciousness in a completely physical reality. The main conclusion of this dissertation is that the Conceivability Arguments are all dependent on a flawed premiss, and that therefore these arguments - perhaps the most powerful among anti-physicalist arguments - all fail. Conceivability Arguments begin with the premiss that we can conceive of any physical or functional facts obtaining without there being any phenomenal experience at all. This is sometimes expressed by saying that zombies (i.e., beings that are our physical and functional duplicates, but possess no phenomenal experiences) are conceivable. The claim that zombies are conceivable does not have to do with our powers of imagination, or our psychological abilities, but rather with the nature of physical and phenomenal concepts. The reason that zombies are claimed to be conceivable is that each person’s thinking about phenomenal properties is completely dependent on her first person acquaintance with her own experience. From this assertion of conceivability it is inferred that zombies are genuinely possible. And this conclusion is incompatible with physicalism as that doctrine is usually understood. I argue that these arguments all fail; they are refuted by a master argument that I call “the Zombie Refutation.” The reason they fail has to do with the very nature of phenomenal concepts that gives rise to the conceivability of zombies. Because of the special nature of these concepts, the principle underlying the Conceivability Arguments - that principle that links conceivability and possibility - turns out to be self-refuting. Thus, the zombies that the Conceivability Arguments supposedly demonstrate to be possible, return to undermine those very arguments; a fitting revenge. (shrink)

IN 1787, six years after the publication of the Critique of Pure Reason, one year before the publication of the Critique of Practical Reason, and three years prior to the appearance of the Critique of Judgment, Duke Karl August of Sax-Weimar was persuaded to establish at the University of Jena the world's first university chair designated for the promulgation and explication of the new Critical Philosophy associated with Immanuel Kant. The first occupant of this chair was Karl Leonhard Reinhold, an (...) Austrian ex-monk, whose main qualification for the new position was his fame as the author of a series of well-received magazine articles promoting the new philosophy. At Jena, however, Reinhold's own "Kantianism" underwent an interesting metamorphosis; in the books and lectures that he wrote during his seven year tenure there he profoundly revised the Kantian system and produced a new version of it which he called "Elementary Philosophy." It is altogether appropriate that when Reinhold finally left Jena his successor should have been an even more innovative follower of Kant and admirer of Reinhold's Elementary Philosophy, J. G. Fichte. Fichte arrived in 1794 and immediately began constructing and laying before the public what is perhaps the most imaginative and remarkable of all the great post-Kantian speculative systems: his Wissenschaftslehre, or "Theory of Scientific Knowledge." Concurrent with the widespread revival of interest in German Idealism generally, interest in Fichte's Wissenschaftslehre has increased remarkably in recent years. Often viewed as the first step "from Kant to Hegel," Fichte's system was in fact not the first attempt to convert Kant's philosophy into a more consistent and thoroughgoingly speculative system. The honor--or onus--of making the "first step" in this direction belongs to Reinhold, and the aim of this essay is to indicate why this is so by surveying the Elementary Philosophy and examining those of its features which most influenced other philosophers, most notably Fichte. Though it may be claiming too much to say that one cannot properly understand Fichte's early presentations of his system without some acquaintance with Reinhold's Elementary Philosophy, it is certainly true that a familiarity with the latter is a tremendous aid to anyone trying to penetrate the former. Though the chief purpose of this survey is to emphasize Reinhold's contributions to the development of German Idealism, an ulterior aim is to introduce contemporary readers, especially English-language readers, to Reinhold's Elementary Philosophy and to suggest reasons why this neglected and all but forgotten system might still merit serious study. (shrink)

This volume gathers essays by fourteen scholars, written to honor Fred Dallmayr and the contributions of his political theory. Stephen F. Schneck's introduction to Dallmayr's thinking provides a survey of the development of his work. Dallmayr's “letting be,” claims Schneck, is much akin to his reading of Martin Heidegger's “letting Being be,” and should be construed neither as a conservative acceptance of self-identity nor as a nonengaged indifference to difference. Instead, he explains, endeavoring to privilege neither identity nor difference, the (...) hermeneutic circle for Dallmayr must also be one of thoroughgoing critique and praxis. And, indeed, what joins together Dallmayr's many essays and explorations, what inheres within his “cosmopolitan” understanding of the contemporary world, and what lends his analyses their imperative, is this same “letting be.” "How many of us, over the last forty years, have opened up this or that book by Fred Dallmayr to acquaint ourselves with a new thinker or intellectual movement? It has happened to me several times. Each time, something else happens too. I become alert again to the distinctive and noble temper expressed in Dallmayr's work. _Letting Be_ consists of a series of essays by leading scholars who articulate and appreciate this temper, particularly as it has found expression in his thought about global politics work over the last two decades. This is a fine study, devoted to a thinker whose temper of critical responsiveness deserves wide emulation." —_William E. Connolly, Krieger-Eisenhower Professor, Johns Hopkins University_ _ _ "These essays constitute a marvelous, extended conversation on how political theory should delineate its future tasks. The reader is treated to a lively debate about a crucial set of questions: what strands of traditional Western political thought offer the best resources today; how do we think more comparatively about the foundations of political life; how do we engage more fruitfully Islamic, Indian, and_ mestizo_ contributions; and how do we best envision cross-cultural dialogue and imagine the shape of a "cosmopolis" in ways that will do greater justice to human dignity and diversity? All in all a rich feast honoring a remarkable man and scholar, Fred Dallmayr." —_Stephen K. White, James Hart Professor, University of Virginia_ “This is not the first Festschrift for Dallmayr, and it may not be the last, but it is the first that begins to be in a position to assess his long career with all its twists and turns. I have never fully understood Dallmayr as a creative thinker in his own right until now, and even when I sensed he was, I couldn't precisely say how. Now I can.” —_C. Fred Alford, University of Maryland_. (shrink)

Some argue that God’s omnipotence and moral perfection prevent God from being afraid and having evil desires and thus from understanding such states—which contradicts God’s omniscience. But, I argue, God could acquire such understanding indirectly, either by (i) perceiving the mental states of imperfect creatures, (ii) imaginatively combining the components of mental states with which God could be acquainted, or (iii) having false memory traces of such states. (i)–(iii) are consistent with the principal divine attributes.

This book is the first to discuss, for an English-speaking audience, the ideas of the German-Jewish man of letters, thinker, and activist Günther Anders. Anders is one of few philosophers to deal intensely with the moral consequences of Auschwitz and Hiroshima. He can rightly be called the philosopher of the atomic age, and his thinking a philosophy of modern technology. In biting manifestoes, sharp aphorisms, and penetrating essays, in stirring diary notes and political fables, Anders strikes out the age in (...) which we live. As a twentieth-century visionary, he exposes the absence of the moral and social imaginations that is necessary to prevent our history from ending in a total catastrophe. In the gap between our technical creations and our utter inability to imagine their destructive potential lies the basis for the unstoppable activity of this practical philosopher. From every possible angle, he attempts to comprehend this modern schizophrenia in its roots and consequences. Anders is one of the most important thinkers of the twentieth century. He tried to describe and analyze the variety of manifestations of the “self-destructive progress of our technical civilization,” which makes humanity into an “anti-quated” sort. He diagnosed countless important problems, ranging from the world of media to the dictates of the world of machinery, and he investigated their social, political, and philosophical meaning. To read his writings is more than becoming acquainted with a rich and colorful philosopher. It is more than an encounter with a moving and passionate individual. It is ultimately a confrontation with oneself, with our own guilt and responsibility, with our personal hopes and fears, with our lack of imagination and with our need to recover it. (shrink)

The central objective of Dewey’s Democracy and Education is to explain ‘what is needed to live a meaningful life and how can education contribute?’ While most acquainted with Dewey’s educational philosophy know that ‘experience’ plays a central role, the role of ‘situations’ may be less familiar or understood. This essay explains why ‘situation’ is inseparable from ‘experience’ and deeply important to Democracy and Education’s educational methods and rationales. First, a prefatory section explores how experience is invoked and involved in pedagogical (...) practice, especially experience insofar as it is (a) experimental, (b) direct, and (c) social-moral in character. The second and main section on situations follows. After a brief introduction to Dewey’s special philosophical use of ‘situation’, I examine how situations are implicated in (a) student interest and motivation; (b) ‘aims’ and ‘criteria’ in problem-solving; and (c) moral education (habits, values, and judgements). What should become abundantly clear from these examinations is that there could be no such thing as meaningful education, as Dewey understood it, without educators’ conscious, intentional, and imaginative deployment of experience and situations. (shrink)

Because they failed to include our informed consent, guided imagery scenarios, and debriefing, the relevance of Korn, Huelsman, Reed, and Aiello's (1992) data remains unknown. The design of their Study 1 did not test the greater objectivity of role taking over involved participation. The design of their Study 2 did not demonstrate the effects of demand characteristics. The older "personal acquaintances" were not at higher risk of rape as they claimed. Properly gathered data from the University of Connecticut's laboratory demonstrated (...) that participants regarded the guided imagining of rape to be personally and scientifically beneficial, educating them about the crime and the experience of the rape victim. Prior research had demonstrated that exposure to rape stimuli in combination with debriefing had an educational effect on the decreased endorsement of rape myths. Previously published ethical principles for balancing the rights of scientists, subjects, and society explicate our ethical stance. Informed consent precludes the occurrence of wrongful harms. This poorly designed and poorly reasoned "ethical" critique was unfounded; yet, it might produce a chilling effect on both the use of guided imagery and freedom of inquiry into politically sensitive topics. (shrink)

The article combines later Wittgenstein’s fictitious language games, along with the forms of life associated with them, with the concept of otherness and places them both within the philosophy of education. The account of otherness overlaps with the view of fictional language games in that the latter deviates from our ordinary, extant uses of language and our Lebensform, and thus can be perceived as extraordinary, unusual, strange, and sometimes nonsensical. The advantages of dealing with such construed preposterousness rely, first, on (...) its leading to a better understanding of our own form of life; second, on its opening a window on the changing of our form of life; third, on its acquainting us with the other. The educational roles of it are presented, first, as being needed at the very beginning of a child’s language learning, when the learner probes the limits of sense and thus enters the domain of otherness; second, as freeing children from the tyranny of adults’ norms and showing the norms that adults accept as absurd; thirdly, as puzzlement that gives an impulse to our thought development, which occurs in contact with the other. Therefore, it is claimed that Wittgenstein’s later philosophy opens perspectives on educational thinking not only in terms of teacher training (Abrichtung) of the learner to follow the rules of existing practices, but also in terms of imagination and critical attitude towards the existing forms of life. (shrink)

Traditionally the modern theory of ideas has been discussed primarily in reference to its alleged introduction of a veil of mental items between the mind and the world, which leads, through the empiricists, to radical skepticism about the existence of an external world. Here I propose to emphasize an entirely different aspect of the Cartesian theory of ideas which, in my view, is more fundamental in opening the empiricist path that leads to Hume’s radical skepticism. I argue that what I (...) call the “phenomenological presentation” model of ultimate justification is rooted in a fundamental ambiguity between sensible and intellectual apprehension insinuated by Descartes’s view of “clear and distinct” ideas together with his emphasis on the priority of intuition over logical inference. Sensible apprehension relies on immediate acquaintance with items phenomenologically and ostensively present before the mind as given particulars. The phenomenological presentation model takes its clues from sensible apprehension, although the items present before the mind might themselves be either ideas of the understanding, images of the imagination, sensory impressions, or material external objects. Intellectual apprehension, by contrast, as I illustrate with Leibniz’s model of our knowledge of concepts and truths of reason, consists in the discursive, non-ostensive grasping of the generality of abstract concepts and of formal structures . For Leibniz, all intellectual apprehension is unambiguously “logical discursive apprehension” as opposed to “direct ostensive apprehension.” Thus, Leibniz unmistakably disambiguates Descartes’s model in favor of a precise intellectual model. The empiricists, by contrast, correspondingly disambiguate Descartes’s conception in favor of an entirely sensible model. (shrink)

Traditionally the modern theory of ideas has been discussed primarily in reference to its alleged introduction of a veil of mental items between the mind and the world, which leads, through the empiricists, to radical skepticism about the existence of an external world. Here I propose to emphasize an entirely different aspect of the Cartesian theory of ideas which, in my view, is more fundamental in opening the empiricist path that leads to Hume’s radical skepticism. I argue that what I (...) call the “phenomenological presentation” model of ultimate justification is rooted in a fundamental ambiguity between sensible and intellectual apprehension insinuated by Descartes’s view of “clear and distinct” ideas together with his emphasis on the priority of intuition over logical inference. Sensible apprehension relies on immediate acquaintance with items pheno-menologically and ostensively present before the mind as given particulars. The phenomenological presentation model takes its clues from sensible apprehension, although the items present before the mind might themselves be either ideas of the understanding, images of the imagination, sensory impressions, or material external objects. Intellectual apprehension, by contrast, as I illustrate with Leibniz’s model of our knowledge of concepts and truths of reason, consists in the discursive, non-ostensive grasping of the generality of abstract concepts and of formal structures . For Leibniz, all intellectual apprehension is unambiguously “logical discursive apprehension” as opposed to “direct ostensive apprehension.” Thus, Leibniz unmistakably disambiguates Descartes’s model in favor of a precise intellectual model. The empiricists, by contrast, correspondingly disambiguate Descartes’s conception in favor of an entirely sensible model.Tradicionalmente, a teoria moderna das idéias foi discutida principalmente em conexão com a sua suposta introdução de um véu de itens mentais entre a mente e o mundo que leva, por meio dos empiristas, ao ceticismo radical sobre a existência de um mundo externo. Aqui eu proponho enfatizar um aspecto completamente diferente da teoria Cartesiana das idéias que, na minha visão, é mais fundamental no que diz respeito a abrir o caminho empirista que conduz ao ceticismo radical de Hume. Eu argumento que o que eu chamo de o modelo de “apresentação fenomenológica” de justificação última está baseado em uma ambigüidade fundamental entre apreensão sensível e intelectual insinuada pela visão de Descartes de idéias “claras e distintas” junto com a sua ênfase na prioridade da intuição sobre inferência lógica. A apreensão sensível confia no contato imediato com itens presentes fenomenologicamente e ostensivamente perante a mente como particulares dados. O modelo de apresentação fenomenológica está inspirado na apreensão sensível, embora os itens que se apresentam perante a mente poderiam ser eles mesmos idéias do entendimento, figuras da imaginação, impressões sensórias, ou objetos externos materiais. A apreensão intelectual, por contraste, como eu ilustro com o modelo de Leibniz de nosso conhecimento de conceitos e verdades da razão, consiste na compreensão discursiva e não-ostensiva da generalidade de conceitos abstratos e de estruturas formais . Para Leibniz, toda a apreensão intelectual é claramente “apreensão discursiva lógica” por oposição a “apreensão ostensiva direta”. Assim, Leibniz claramente desfaz a ambigüidade do modelo de Descartes em favor de um modelo intelectual preciso. Os empiristas, por contraste, desfazem a ambigüidade da concepção de Descartes em favor de um modelo completamente sensível. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 361-363 [Access article in PDF] Book Review Henry David Thoreau and the Moral Agency of Knowing Henry David Thoreau and the Moral Agency of Knowing, by Alfred I. Tauber; xi & 317 pp. Berkeley: University of California Press, 2001, $40.00. Among the marvelous qualities of Thoreau's writing is its vivid concreteness and immediacy. As befits one who spent his life seeing for himself, Thoreau (...) shares a vision of a cosmos whose significance is there to be discovered in the things themselves, if only one cultivates the desire, faith, and discipline required for seeing to the bottom of things. An ironic and happy consequence of Thoreau caring more for the company of nature than for that of his fellow man is that it ultimately made him a finer, more engaging writer with a large audience. Whereas Thoreau might have lost himself and his subject-matter (not to mention the better part of his audience) amidst the twists and turns of Kant's or Fichte's conceptual plumbing, he came to his senses instead--and avoided their abstractions and the intellectual fuss they generate. Imagine how tedious and stale his reflections on the supposed bottomlessness of Walden pond would be if he had framed them explicitly in the terms of intellectual debates revolving around skepticism and realism, phenomena and noumena, and their like. It belongs to Thoreau's enduring genius and charm that he avoided such trappings. One can rely on him for a philosophically inflected appreciation of the realms of nature and spirit, while Plato, Aristotle, Hegel, and Nietzsche are more reliable for philosophically incisive articulations of the first principles governing these realms.Inevitably, scholarly books like Alfred Tauber's Henry David Thoreau and the Moral Agency of Knowing will not have the same fresh, original spirit as do their subjects. But though a scholar addresses someone's views rather than the things themselves, one nonetheless chooses whether to develop one's subject's views primarily in light of (what the scholar understands to be) the things themselves, or whether to focus on how the subject's views relate to the views of others. By claiming his book is philosophical, Tauber in effect claims that it is of the former sort, but in fact it is of the latter sort. As such, readers interested in Thoreau's Zeitgeist and contemporary influences, in past and recent assessments of his thought, as well as in some discussion of its place in contemporary intellectual currents will find Tauber's book timely and valuable. For example, prior to articulating his own view of Thoreau's relation to the science of his day, Tauber gives the reader a primer on the history of positivism. Similarly, in the course of assessing how Thoreau viewed the relation of self and nature, Tauber leads the reader through summary appraisals of (and here I give only a sampling) some relevant swatches of Kant, Fichte, and Barthes's thought. And this is not the half of it. Tauber also weaves into his argument reflections on Augustine's discussion of time in the Confessions, themes from Polanyi's Personal Knowledge and James's Principles of Psychology, as well as Goethe's interpretation of what should constitute scientific activity. So Tauber's [End Page 361] book addresses itself to Romanticism, Transcendentalism, positivism, environmentalism, postmodernism, mysticism, idealism, solipsism, and the like. Though eclectic in their material, his discussions are grounded in copious references to and an interpretation of Thoreau's own words. (One pleasure of the book for this reviewer was the opportunity to become acquainted with more of Thoreau's journal entries.) Yet the variety of the book's sources and themes contribute to some repetition as well as diffuseness in the main arguments.Tauber sees his book as "structuring [Thoreau's] project on a philosophical edifice" and thereby making possible "critical insights into certain quandaries that reach into the very mainstream of contemporary science studies" (p. ix). He argues that his approach is novel (Tauber's own background is the history and philosophy of science) because most... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Missing Shade of Blue Re-viewed John 0. Nelson It is obviously important for Hume's purposes in the Treatise to maintain that simple ideas are always founded in precedent, resembling impressions;1 andhe explicitly, overandover, doesso, evensometimes being so carried away by this first principle ofhis science of man (T 7) or so careless as to say that not just all simple ideas but all ideas are founded in precedent, (...) resembling impressions. At the same time, as often noted, Hume explicitly maintains that it is possible for there to be a simple idea having no precedent, corresponding impression. He argues: There is however one contradictory phaenomenon, which may prove, that 'tis not absolutely impossible for ideas to go before their correspondent impressions... Suppose... a person to have enjoyed his sight for thirty years, and to have become perfectly well acquainted with colours of all kinds, excepting one particular shade of blue... Let all the different shades of that colour, except that single one, beplac'd before him... Now Iask, whether 'tis possible for him, from his own imagination, to supply this deficiency, and raise up to himselfthe idea ofthat particular shade, tho' it had never been conveyed to him by his senses? I believe there arefew but will be ofopinion that he can; and this may serve as a proof, that the simple ideas are not always derived from the correspondent impressions. (T 5) Nowjust prior to this concession (as Cummins calls it ), Hume has said that the full examination ofthis question [the causal relationship between ideas and impression] is the subject of the present treatise; and therefore we shall here content ourselves with establishing one general proposition, That all our simple ideas in their first appearance are deriv'd from simple impressions, which are correspondent to them, and which they exactly represent. (T 4) Volume XV Number 2 353 JOHN O. NELSON And just after the same concession, that a simple idea may be raised up which does not have a prior, correspondent impression, Hume says that it still remains true, that all our simple ideas proceed either mediately or immediately, from their correspondent impressions (T 7). Thus we have Hume explicitly asserting, it seems, both that all simple ideas have precedent correspondent impressions and that they do not. But this, on the face ofit, is an arrant contradiction! Can Hume have Homerically nodded? We have been quoting from the Treatise, but Hume makes the very same contradictory-seeming claims in the Enquiryl A thinker of Hume's acumen might nod for a page or two's quarter hour but not for all of nine years! Moreover, in both places Hume refers to the phenomenon of the impression-less idea ofblue as a contradictory phenomenon, indicating clearly enough that he was himself aware of there seeming to be an inconsistency here in his contentions. What can possibly be going on? Is Hume deliberately being paradoxical? Perhaps trying, for sensation's sake, to shock the reader and so increase sales of his work, as some commentators in the past might have wished to say? But this would be at the expense ofhis own contentions and principles and not the reader's, and not even Hume's bitterest foes and most malicious critics — so far as I know — have ever proposed that Hume would, figuratively speaking, like Oedipus, gouge out his own eyes, even in order to increase sales of the Treatise, nor does it make the slightest sense to think he would. The mystery deepens when we remember that Hume has said, in defining the program of the Treatise, that his intention is to establish the one general proposition that all our simple ideas in their first appearance are deriv'd from simple impressions, which are correspondentto them (T4). What astrange way, we want to exclaim, to show that all our simple ideas are derived from correspondent simple impressions by almost immediately afterwards arguing that it is possible to have an idea that has had no correspondent, precedent impression! Such an egregious nonsequitur mightbe expected ofan absolutely incompetent beginner in philosophy, but we are speaking of David Hume, generally recognized as the profoundest and most acute of... (shrink)

The subject of this essay is the medieval castle present in Juliusz Siowacki’s literary works. I am interested in the ways оf its presentation, attempting to recall the climate of antiquity and the evolution of the picture of the castle. Therefore, I discuss the image of the castle created in the early works: the poetic novel Hugo (1829), the drama Mindowe (1832), as well as in the later works belonging to the so called mystical period: Wallenrod and Konrad Wallenrod. Helsztyński (...) lies beyond the scope of my interests as its research requires a different perspective. I present in Hugo a stereotypical model of forming architectural space Słowacki draws a very sketchy picture of the castle. He leads the reader into the interiors of a pagan temple and a representative hall with only one decorative element: famous pseudo-classical pillars. The picture of the castle is considerably enriched in Mindowe. First of all, the author enlarges its space. He adds a secret passage and furniture, mentions a treasury and a representative hall. This way he slightly violates the stereotype of an interior subordinated to the tragedy convention. Moreover, I emphasize here the way Słowacki compares the Gothic style to the creations of nature e.g. a hall with pillars is compared to a forest, rose windows to stars, a castle to an eagle’s nest. These comparisions tend to illustrate the architectural style - the Gothic and the atmosphere of Middle Ages. This essay shows that the picture of the castle was conceived in opposition to Mickiewicz’s castle presented in Grażyna and Konrad Wallenrod. The image of the castle in Wallenrod and Konrad Wallenrod varie from the early works. However, the fragmentation of these texts precludes any profound analysis of the problem The poet in Wallenrod associates architectural space with characters' personality: Wallenrod - gloomy Malbork, vindictive Jagiełło - bloody Vilnius, Kiejstut and noble Witold - sunny Troki. In the drama Wallenrod the characters’ “interiors” are somehow reflected in the interiors of the castle. The castle is given different significance in the fragments of Konrad Wallenrod, where it becomes the place of recognition of God’s truths. The pictures of Lithuanian castles is created mainly by stereotypes and poetic imagination hardly ever by descriptions of existing buildings. Słowacki did not manage to show the specific type of the castle in Troki in Hugo, although he was personally acquainted with the castle. The image of the castle in Nowogródek was influenced by the tragedy convention and Mickiewicz’s castle in Grażyna. In the later texts the poet lost his interests in architectural details. He focused on the character’s inside, or as in Konrad Wallenrod, on the importance of the word spoken by the prophet. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:NEWMAN'S PSYCHOLOGICAL DISCOVERY: THE ILLATIVE SENSE (Continued) VI THE FACULTIES OF COGNITION AND APPETITION Since the Grammar of Assent gives us a phenorhenological analysis of the art of thinking and often refers to the influence of other faculties in our reasoning processes, it will be very instructive to examine what the author holds about our faculties of cognition and appetition. This will make us better acquainted with the nature (...) of the illative sense. I. THE SENSES 1. The External Senses and their Objects. We had already arrived at the conclusion that Newman rejects the mere subjectivity of our knowledge. When he writes about this matter he explicitly deals with sensation or sensuous cognition. Although he takes exception to the word "immediate perception," 1 we may nevertheless call him an adherent of direct or immediate realism according to Scholastic terminology, because he emphatically excludes the intervention of a reasoning process from sense perception and uses the term "mediate perception" only to express the instrumentality of experience. In this meaning our perception of external objects is mediate or indirect indeed.2 The fact is that as early as 1839 he wrote in his University Sermons: "Of the material we have direct knowledge through the senses"3 and in 1843: "The senses are direct, immediate, and ordinary informants, and act spontaneously without any will or effort on our part."4 On the importance of sense perception for our mental activities he writes in a series of hitherto unpublished notes, entitled Elements of Thought:6 "I grant or I assume that the soul would not think without some external stimulus; that if it were cut off from all communication from the external world, it would pass this life in a sort of torpor... But then, as soon as it is roused, it reflects upon itself, and thereby gains a number of ideas..." 1. See supra V, 14.2. Supra V, 14.3. P. 205. 4.P. 303 ; cf. Gramm., p. 260. 5.See the unpublished Philosophical Papers, note Fcbr. 24, 1859. 40 DR. ZENO, OJM. CAP.41 Apart from the passages already referred to, Newman nowhere enlarges on the doctrine about the senses. He does not speak about the distinctions between sensible objects; he does not explain the difference between sensation and perception, and uses those terms promiscuously.6 There are no statements on the subject which contradict current Scholastic notions, although sometimes his vague terminology may be an occasion for misunderstandings. For instance, some passages in connection with "images" and "impressions," when read apart from the context, would appear to imply that he identifies them with the Scholastic species a sensibili accepta. However, we shall show further on that. Newman means something quite different. He deals with these species and the so-called sensibilia per acci· dens by the way when describing our knowledge of God7 and teaching that we have evidence of the presence of individuals or substances in the phenomena which occur to our senses. We picture those things to ourselves in those phenomena. They are like pictures, he says, but at the same time "they give us no exact measure or character of the unknown things beyond them." "Therefore when we speak of our having a picture of the things which are perceived through the senses, we mean a certain representation, true as far as it goes, but not adequate." 2. The Internal Senses and their Objects. Newman nowhere gives a distinction between external and internal senses, but nevertheless he speaks about those faculties of the mind which by the Scholastics are called the internal senses. These philosophers distinguish a common sense or rather a central sense (sensus communis), which unites the impressions of the external senses into one whole, makes us conscious of the conditions of our body and notifies to us the sensations of our external as well as internal senses; — the imagination or the faculty which preserves and reproduces things perceived; — the sensuous memory, i. e., the power to retain and to reproduce sense images; — and the vis aestimativa or the instinctive faculty, which discovers without any intellectual means, what is good and what is bad for our welfare. 6.It would seem that he generally... (shrink)

This accessible and provocative collection of science fiction acquaints readers with cutting-edge gender controversies in moral and political philosophy. By imagining future worlds that defy our most basic assumptions about sex and gender, freedom and equality, and ethical values, the anthology’s authors not only challenge traditional standards of morality and justice, but create bold experiments for testing feminist hypotheses. Selections are grouped under four main themes. Part 1, "Human Nature and Reality," concentrates on whether there is an intrinsic difference between (...) males and females. Here the authors inspect opposing views on five related questions: What does it mean to be human? What are women and men really like? How significant is the reproductive difference? How do we define the concepts of "woman" and "nature"? Why is language important? Part 2, "Dystopias: The Worst of All Possible Worlds," first portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Chilling stories of future possibilities follow, including worlds where women and men separate into armies to fight a literal war of the sexes. Part 3, "Separatist Utopias: Worlds of Difference," assembles stories that scrutinize both the virtues and vices of separatism, in order to address the questions Why should women want to separate from men? and What would and should these all-female worlds be like? In Part 4, "Androgynous Utopias: Worlds of Equality," the authors create intriguing worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. With selections from such noted writers as Octavia Butler, Marion Zimmer Bradley, James Tiptree Jr., and many others, plus chapter introductions, discussion questions, and recommended reading list, this stimulating collection offers fresh insights on troubling issues by weaving controversial utopian and dystopian designs from the separate threads of opposing positions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Divine Grace and the Play of OppositesTrent PomplunIn Prisoners of Shangri-la: Tibetan Buddhism and the West, Donald Lopez treats his readers to a provocative but entertaining history of Western fantasies about Tibet. Lopez discovers at the root of these fantasies a "play of opposites" between "the pristine and the polluted, the authentic and the derivative, the holy and the demonic, the good and the bad."1 Not surprisingly, Catholic missionaries (...) to Tibet play an important role in Lopez's history, and he depicts them as prisoners to the play of opposites par excellence. Truth be told, it is difficult to deny his charges; in a passage quoted by Lopez, the seventeenth-century Jesuit polymath Athanasius Kircher describes Tibetans' veneration of the Dalai Lama in these words:Strangers at their approach fall prostrate with their heads to the ground, and kiss him with incredible Veneration, which is no other than that which is performed upon the Pope of Rome; so that hence the fraud and deceit of the Devil may easily and plainly appear, who by his innate malignity and hatred, in way of abuse hath transferred, as he hath done all the other Mysteries of the Christian Religion, the Veneration which is due unto the Pope of Rome, the only Vicar of Christ on Earth, unto the superstitious Worship of barbarous people.Whence as the Christians call the Roman High-Priest Father of Fathers, so these Barbarians term their false Deity the Great Lama, that is, the Great High-Priest, the Lama of Lamas, that is, the High-Priest of High-Priests, because that from him, as from a certain Fountain, floweth the whole form and mode of their religion, or rather mad and brain-sick idolatry, whence also they call him the Eternal Father.2Lopez explains this passage in light of what he calls the "doctrine" of demonic plagiarism, a relatively common belief among Christian theologians that resemblances between Christianity and other religions could be explained as parodies of the true faith authored by the Devil. Athanasius Kircher undoubtedly believed in such parodies; in point of fact, he had much stronger views about them than many of his contemporaries. But Lopez continues,Why must this appearance be demonic? The answer derives in part from the Christian Church's claim to historical and ontological particularity. It is the [End Page 159] task of the missionary to transmit the word of particularity to those realms where it has not spread, to diffuse it from its unique point of origin. To carry its accoutrements from Rome in a time and to a place they could not possibly have been taken before, and to find them already there, suggests the workings of a power beyond history, which could only be seen as demonic.3I would like to take issue with this unfortunately misleading presentation of Christian theology. No orthodox Catholic theologian believed that such appearances were necessarily demonic, nor did any think that demonic influences ruled out other, more positive, ones. A cursory reading of the writings of Ippolito Desideri, the Jesuit adventurer and missionary who lived in Tibet from 1716 to 1721, should demonstrate that Roman Catholic theologians developed several complex theories about the resemblances between Christians and non-Christians in the seventeenth and early eighteenth centuries. If we situate the Jesuit missionary squarely in the theological currents of the seventeenth century, especially in debates about the salvation of non-Christians, I think we can come to see that the views of Roman Catholic missionaries about Tibetans, and non-Christians in general, were considerably more complex than Lopez imagines.Ippolito Desideri on the Salvation of Tibetan BuddhistsIppolito Desideri arrived in Lhasa on March 18, 1716. As a result of his acquaintance with Khang chen nas and Don grub tshe ring, Desideri quickly gained access to the court of the Qōśot Mongol chieftain Lha bzang Khan.4 Much to the missionary's delight, the Khan granted his request to preach the Gospel in Tibet with great enthusiasm and—if we are to believe Desideri's account—no small amount of paternal sentimentality. In order to facilitate his preaching, Desideri composed a small book explaining the errors... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Breathing:Proustian Therapy1Christopher Prendergast (bio)I begin with a question I would never have imagined myself asking. Is Proust good for you? Might there even be, albeit in carefully controlled doses, a place for him in modern 'health care'? He certainly belongs in the select, if occasionally scary, company of writers whose name, or that of one of their fictional characters, has lent itself to the designation of a psycho-physical condition (...) often with medical characteristics. A short list includes: Stendhal ('Stendhal syndrome,' the condition of obsessional attachment to works of art); Musset (the 'Musset Sign,' manifested as an uncontrollable tremor of the head); Gogol's Plyushkin in Dead Souls ('compulsive hoarding syndrome'); Dickens's Miss Havisham in Great Expectations ('senile squalor syndrome'); Wilde's Lady Windermere ('Lady Windermere syndrome,' associated with pulmonary illness and breathing difficulties).There is no evidence that Proust was directly acquainted with Wilde's play, but there can be little doubt that what came to be called 'Lady Windermere Syndrome' would have spoken to him loud and clear. In an early story called L'Indifférent, Proust penned an encomium to the air we breathe: "A child who from birth has always breathed without paying any attention has no idea how much the air, which swells so sweetly his chest that he doesn't even notice it, is essential to life." A memory of this is doubtless somewhere in the background of the passing mention in Le Côté de Guermantes of "the alpine resort" that teaches him "that the act of breathing, to which we habitually pay no attention, can be a constant source of pleasure." It was almost certainly also in Proust's thoughts when, in the final volume, he penned the famous definition of Paradise Lost as the place and time of "an air we have breathed before, this purer air which the poets have tried in vain to make reign in paradise and which could not provide this profound feeling of renewal if it has not already been breathed, for the only true paradise is a paradise that we have lost."But the early story, like the novel itself, is also haunted by a subtext in which what is precious to life can also be the enemy of life, as, in an access of fever and sudden convulsion, the child feels himself to be suffocating. The story clearly has its origins in Proust's own life, the moment of his first asthma attack as a young boy on a family outing to the Bois de Boulogne. It struck out of the blue with a frightening intensity, and was to pursue [End Page 49] him throughout his life like a fury, proliferating further symptoms such as emphysema and cardiac seizures. As late as 1919, he writes in a letter of an attack that leaves him "gasping like someone half-drowned who is pulled out of water." And it was there again at the moment of Proust's exit from the world, carried off by a bout of pneumonia exacerbated by a pulmonary abscess.There were treatments and consultations galore, the former on a spectrum from inhalations to cauterizing of the nasal tubes, and the latter including a meeting with his father's colleague, Dr. Buissand, who inclined to the view– and increasingly fashionable in medical circles–that the prime cause was neurasthenic. Proust himself hesitated: in a letter he described it as "a bodily illness," but in the Recherche, "asthma crises" are linked to a "mystery" of the "unconscious" and strike out of the blue. The 'mystery' is often, and plausibly, associated with fear of separation from the protective mother. This will be one of the major themes of the novel, and the source of the "sobs that never cease" of which the narrator speaks in the opening volume. But whether physical or psychosomatic, a guaranteed trigger was proximity to tree blossoms (apple especially virulent) and certain flowers–that is, the very things that, for Proust, often something approaching quasi-sacred status, thus illustrating the law that it is what you most love that can kill you.In the novel, however, much of this is distilled into comedy, all terrifying... (shrink)

Recent debates on the validity of Aesthetic Testimony and the centrality of the so-called Acquaintance Principle suggest that there is more to the proper exercise of aesthetic judgement than mere endorsement of allegedly correct aesthetic judgements. For example, although it is reasonable to follow experts’ judgements in certain matters of fact, it seems less acceptable to simply endorse or adopt experts’ judgements in the aesthetic domain. That reliance on testimony, by contrast to some other areas of judgement, is not (...) sufficient for aesthetic judgement has encouraged scholars to focus in turn on the importance of the personal involvement and autonomy of the aesthetic agent. This special issue focuses on phenomena related to failed exercises of aesthetic judgement. The choice of the theme is motivated by the belief that a careful analysis of failures in aesthetic judgement can reveal significant aspects of the nature of aesthetic experience itself as well as the roles that perception, imagination, and learning have in its proper exercise. (shrink)