Faire le point, à la lumière des connaissances actuelles de l'histoire des sciences et de la philosophie médiévales, sur les rapports de Desccartes et du Moyen Âge, tel étaitt l'objet du colloque orgganisé à Paris du 6 au 9 juin 1997, auquel cet ouvrage fait suite. Les innovations et mutations conceptuelles de Descartes font l'objet de mises en perspective et de comparaisons, dans des contributions qui couvrent la pluparty des aspects de la pensée cartésienne. L'originalité de Descartes n'en est pas (...) atténuée, mais reçoit de nouveaux éclairages, en suivant les transformations de concepts et de problèmes, par delà les séparations habituelles entre le Moyen Âge, la Renaissance et l'Âge classique. (shrink)

J. L. Ackrill; VIII*—Aristotle's Definitions of Psuche, Proceedings of the Aristotelian Society, Volume 73, Issue 1, 1 June 1973, Pages 119–134, https://doi.org.

J. M. Shorter; X*—Personal Identity, Personal Relationships, and Criteria, Proceedings of the Aristotelian Society, Volume 71, Issue 1, 1 June 1971, Pages 165–1.

This essay investigates an underappreciated way in which trust and testimonial injustice are closely connected. Credibility deficit and credibility excess cases both (in their own distinctive ways) contribute to a speaker’s being harmed in her capacity a knower. But moreover, as we will show—by using the tools of a performance-theoretic framework—both credibility deficit and credibility excess cases also feature incompetent trusting on the part of the hearer. That is, credibility deficit and excess cases are shown to manifest qualities of thinkers (...) that are inconducive to trust’s being reliably fulfilled. What this implies is an interesting result about testimonial injustice: to the extent that we want to mitigate against testimonial injustice—one promising way to do so will be to target incompetent trusting of the sort that underlies it. We conclude by outlining and defending what we take to be a promising substantive version of such a mitigation strategy, one which is centred around the cultivation of higher-order trusting competences. (shrink)

To explain the meaning of the Prometheus the late Dr. Walter Headlam quoted the famous lines from theAgamemnon:‘ Sing praise; ’Tis he hath guided, say, Man's feet in Wisdom's way, Stablishing fast for learning's rule That Suffering be her school….’ ‘This,’ he said, ‘is the school in which Prometheus himself is being gradually taught the wise humility; at present he is still in the rebellious stage. And it is with this idea that Io is introduced into the Prometheus Bound; she, (...) too, is an example of the seeming cruelty of Zeus; but it is a blessing in disguise, for she is to be the mother of the blessed Epaphus, and it is a son of Zeus by Alcmena, a descendant of her own, that is to set Prometheus free.’. (shrink)

The degrees of formality into which speech can be graded are in no sphere more obvious than in expressions of address and third-person reference. Methods of naming vary according to many factors: the formality of the circumstances in which naming takes place, the nature of the subject under discussion, and the ages, sex, and relative status of the speaker and addressee. Conventions of naming sometimes reflect the rigidity or otherwise of social divisions. In some societies or circles address between superior (...) and subordinate is non-reciprocal: the speaker with the greater prestige will adopt one form of address, the subordinate another. In other societies when unequals address each other both may use the same formal method of address: the difference of prestige is not explicitly acknowledged. (shrink)

In a paper recently published in this Review, I tried to show that part of the formal beauty of the Hercules Furens is due to a subtle treatment of the familiar doctrine that the tyrant's wealth and power are of trifling value compared with Sophrosune, the gain that is really gain. Perhaps some further notes on the dramatic use made by Euripides of these familiar ideas may be of interest. One object with which I started was to observe the use (...) of the word τúραννος in Greek drama. Though the poets frequently enough use it merely as a convenient equivalent for βασιλεúσetc., popular feeling made it easy to suggest the meaning ‘tyrant,’ ‘bad King,’ or ‘Usurper’; and the poets use the ambiguity with great subtlety and in a manner which enables them to obtain fine effects of irony and scorn. What is more important is the fact that the notion of a tyrant with which we are acquainted in later Greek literature was already common-place in the fifth century, and that many dramatic effects depend on the recognition by the audience of the commonplace as such. Indeed, it is often the adaptation by the poet of the familiar ideas that lends formal beauty to compositions which, if we think simply of the plot, appear at first sight jerky or ‘epeisodic.’. (shrink)

Ship design needs to respond to and attract an ever more design conscious society. However, little research has been conducted into perceptions of beauty and pleasure and how such perceptions can be usefully absorbed into ship design. Aesthetic consideration, is seen as a distraction from the bespoke nature of the ship design process and is often avoided, second guessed or left for external consultancy. The ship design discipline requires the nurturing of its own aesthetic methods, for future development, and to (...) adapt some of the aesthetic ideals found in architecture, art and design. This paper argues that philosophy can be effective in interpreting what the passenger finds attractive and pleasurable. To illustrate the philosophical approach proposed, the `Elbe SWATH’ and the `Oasis of the Seas’ are investigated and compared using theoretical resources from the culturally focused philosophy of `Functional Beauty’. Conclusions suggest that the interpretation of the end users most valued appreciations can lead to design directives that deliver subjective qualities of beauty - beauty similar to those seen in the pure aims of the Elbe SWATH’s purposeful work craft, or comparable to nature’s beauty and purity in aim. (shrink)