Covers all philosophers appearing in standard textbooks, from Thales to Augustine . A brief introduction to each thinker or school summarizes their major themes.

Van Belle traces the history of psychology from its roots in Greek philosophy and includes a description of the later influence of the Hebraic-Christian mindset on that history. Subsequently, he follows the journey of psychology through the Middle Ages and the scientific revolution of the sixteenth century. Next, he describes the birth and trajectory of psychology proper during the nineteenth century and closes with a description of a number of the more contemporary schools of psychological thought. The underlying thesis of (...) the text is that the history of psychology gives evidence of both continuity and discontinuity in interaction with one another. Thus, to do justice to the actual history of psychology one must take note of both persisting themata and changing paradigms. (shrink)

Stigma can influence the prevention and identification of fetal alcohol spectrum disorder, a leading cause of developmental delay in North America. Understanding the effects of public health practices and policies on stigma is imperative. We reviewed social science and biomedical literatures to understand the nature of stigma in FASD and its relevance from an ethics standpoint in matters of health practices and policies. We propose a descriptive model of stigma in FASD and note current knowledge gaps; discuss the ethical implications (...) of stigma based on two distinct criteria ; and describe two cases and the concerns associated with inadvertent stigmatization by public health initiatives for FASD. We recommend further empirical and ethical analyses to examine whether public health policies and practices inadvertently stigmatize and impact the success of public health initiatives and programs for FASD. (shrink)

The Philosophy of Modern Song: curious title, a curious book. If you bought it, as I did, because you are a devoted Dylan fan, hoping to find new Dylan songs inside, or at least new Dylan prose, you will be disappointed. In the photo of three musicians on the cover, none of them is Dylan. The one on the left is Little Richard. Who are the other two? Nowhere are we told their names, nor the names of the people in (...) any of the other photos, except for the sixty-six featured artists, though we will recognize many. The photo on the back cover might or might not be of the interior of Izzy Young's “Folklore Center,” reminiscent of Dylan's early days in Greenwich Village in the Sixties, when, together with my guitarist husband, I got to hear him perform after hours at the Gaslight and knew him well enough to say Hi when passing on the street.The basis for selecting the sixty-six songs anthologized and commented on is not immediately obvious. This is not a collection of Dylan's underappreciated favorites, though the taste represented is certainly eclectic and the choices are often surprising. The title does not help the reader who has not yet got her bearings... Philosophy? As if to justify his use of the word, Dylan eventually offers a lengthy comment on Albert Camus, but how relevant is that comment to these songs? And the word modern, too, means so many things—a sudden divergence from the past in the arts and literature; up-to-date and therefore good. These songs are not that kind of modern. If anything, the book looks backward, across the years of Dylan's long life to his musical awakening. Because we are almost the same age, I recognize the hodgepodge of styles and influences assembled here as belonging mostly to the early Fifties, when, like Bob, I was entering my teens by listening to, even dancing to, songs on the radio before I fell asleep at night. Enough about me! But no more apt basis for classifying these songs is suggested. They are not arranged alphabetically or chronologically.As for the anthologized songs, each one, once named, receives a commentary, and every commentary is called a chapter, and every chapter is divided into two parts, spelled out in letters as bold as a movie marquee. We are given the title of each song, the date of its release, and the name of the songwriter. The first part of each commentary consists of a paraphrase of “events” in the song, told almost exclusively in the second-person you rather than the more conventional I or the third-person he or she. Here is a passage from Dylan's paraphrase of “Blue Suede Shoes” by Carl Perkins: You get on well with most people, and you put up with a lot, and you hardly get caught off guard, but your shoes are something else. Minor things may annoy you, but you rise above them. Having your teeth kicked in, being pounded senseless, being dumped on and discredited, but you don't put any weight on that, none of it is as real to you as your shoes. They're priceless and beyond monetary worth.The paraphrase goes on for almost six pages, and to what end? The second half of each commentary, indicated by changes in the type, takes a few steps back to consider the sociological implications of the song in the context of its time. For instance, from the second half of the commentary on “Blue Suede Shoes”: “Shoes reveal character, station, and personality.” But Dylan does not use the opportunity to talk about his own character, station, personality. His associations with Carl Perkins and “Blue Suede Shoes” morph into an anecdote about a man called “Iron Felix, trusted consort to Lenin and Stalin.”A lengthy list of all required photo credits fills the two back pages but is printed in type so small it is almost illegible. If you want more information, and more importantly if you want to experience the songs discussed, your best bet is to search for the recordings on YouTube and to follow along, reading Dylan's commentary, one song at a time, while listening. Or, I hear rumors that we will need to purchase another book, the audio version of Philosophy of Modern Song, not yet released.Every song has its commentary, but nothing about this organization is stable, and as soon as the reader/listener thinks she has discovered a rationale for the order of the works selected, she is met with an exception. Basically, these seem to be songs about which Dylan has something anecdotal to say. More usefully, perhaps, they are organized around certain themes—those that have always preoccupied him: man's inhumanity to man, injustice, self-deception, the human situation. The anonymous author of the blurb on the jacket promises a master class in songwriting, but, if it exists at all, that lecture is exhausted in one or two observations, such as: “ ‘El Paso’ is built on five stanzas, each one two verses and a bridge and then returning to the next stanza.... ”It was almost fifty pages into the book that the sense of something missing overcame me. It was not only the words of the songs and the music that were missing; it was the author, the central intelligence that I love, the singer and songwriter whose name is credited on the cover but who never appears in the book, not even in a photograph. What I missed was Dylan. He had removed himself from his book's pages, except perhaps for a single instance: “You're an eighty-year old man, being wheeled around in a home for the elderly, and the nurses are getting on your nerves.... ”Has Bob Dylan grown weary of himself and all of his creations? The commentaries are not about Bob. In the whole book, the line quoted above may be the only exception. Does he refuse the “first person singular in the hopes of transcending ego”? Maybe; but we want to hear our master's voice. As for the philosophy of song? Besides the remarks on Camus, there is only one commentary in which Dylan explicitly states anything like a philosophy, and that is the one on “Willie the Wandering Gypsy and Me,” written and performed by Joe Shaver. The song has a philosophical point of view: “Keep moving, it's better, let the train keep on rolling.”. (shrink)

In a discussion of Schroedinger’s views on quantum theory John Bell says that Schroedinger did not see how “to account for particle tracks in track chambers…and more generally for the definiteness, the particularity, of experience, as compared with the indefiniteness, the waviness, of the wave function. It is the problem he had had with his cat. He thought it could not be both dead and alive. But the wave function showed no such commitment, superposing the possibilities. Either the wave (...) function as given by the Schroedinger equation is not everything or it is not right” (Bell 1987). At a recent conference Bell sermonized against the employment of “for all practical purpose” reasoning- he called it FAP reasoning-to solve this problem (Bell 1989). He argued that we should not be satisfied with any alleged solution which works “for all practical purposes” only while leaving conceptual puzzles unresolved. (shrink)

This article explores emotions and their relationship to ‘somatic responses’, i.e., one’s automatic responses to sensations of pain, cold, warmth, sudden intensity. To this end, it undertakes a Husserlian phenomenological analysis of the first-hand experience of eight basic emotions, briefly exploring their essential aspects: their holistic nature, their identifying dynamic transformation of the lived body, their two-layered intentionality, their involuntary initiation and voluntary espousal. The fact that the involuntary tensional shifts initiating emotions are irreplicatable voluntarily, is taken to show that (...) all emotions have an innate core, a conclusion corroborated by their strong similarities to somatic responses in dynamics, hedonic tone, and topology. The fact that emotions may be culturally reworked, is shown to be explicable in terms of their complex nature: their dependence on belief, their voluntary espousal, and their ready social transmittability. Finally, it is argued that emotions may plausibly be deemed the evolutionary descendants of somatic responses. (shrink)

As Descartes noted, a proper account of the nature of the being one is begins with a basic self present in first-person experience, a self that one cannot cogently doubt being. This paper seeks to uncover such a self, first within consciousness and thinking, then within the lived or first-person felt body. After noting the lack of grounding of Merleau-Ponty’s commonly referenced reflections, it undertakes a phenomenological investigation of the body that finds the basic self to reside in one’s espoused (...) feelings and striving, both bodily in nature. It then examines the relationship of the lived body to the visual body and to the body studied by science. Two issues concerning that relationship are taken up. It is concluded that on the available evidence neither the apparent agency nor the apparent free will of the lived body is illusory. (shrink)

This article examines the various Liar paradoxes and their near kin, Grelling’s paradox and Gödel’s Incompleteness Theorem with its self-referential Gödel sentence. It finds the family of paradoxes to be generated by circular definition–whether of statements, predicates, or sentences–a manoeuvre that generates pseudo-statements afflicted with the Liar syndrome: semantic vacuity, semantic incoherence, and predicative catalepsy. Such statements, e.g., the self-referential Liar statement, are meaningless, and hence fail to say anything, a point that invalidates the reasoning on which the various paradoxes (...) rest. The seeming plausibility of the paradoxes is due to the fact that often the sentence used to make the pseudo-statement is ambiguous in that it may also be used to make a genuine statement about the pseudo-statement. Hence, if a formal system is to avoid ambiguity and consequent paradox and contradiction, it must distinguish between the two statements the sentence may be used to make. Gödel’s Theorem presents a further complication in that the self-reference involved is sentential rather than statemental. Nevertheless, on the intended interpretation of the system as a formalization of arithmetic, the self-referential Gödel sentence can only be an ambiguous statement, one that is both a pseudo-statement and its genuine double. Consequently, the conclusions commonly drawn from Gödel’s theorem must be deemed unwarranted. Arithmetic might well be formalized in a proper system that either excludes circular definition or introduces disambiguators. (shrink)

The various roles proposed for emotion, whether psychological such as preparing for action or serving prior concerns, or biological such as protecting and promoting well-being, are easily shown to have an awkward number of exceptions. This paper attempts to explain why. To this end it undertakes a Husserlian phenomenological examination of first-person experience of two types of responses, the various somatic responses elicited by sensations (pain, cold, pleasure, sudden intensity) and the various personal directed emotions (grief, fear, affection, joy). The (...) analysis brings out the overall close structural symmetry between the two types of response and the strong hedonic, dynamic, and topological similarity between particular members from each of the two groups. The findings strongly suggest that emotions evolved from the more rudimentary involuntary somatic responses. The hypothesis finds further support in the fact that it explains both the biological unsoundness and anomalous archaic features that emotions often display. It also explains why emotions have no tidy function. (shrink)

The modern era was dominated by conflicts between claims to certainty about justice and denials that certainty is warranted. The purpose of this book is to develop a postmodern alternative to both philosophies, one which is universal without being absolutist. The approach is _dialectical_ in Plato's sense of that term. Dialectic is both necessary and sufficient for the theoretical and the practical aspects of living. The primary symbol in this book is the Athenian Socrates who spent his days in the (...) Agora and his evenings in the houses of his friends, the active professionals of the world's first democracy. His questions were unabashedly philosophical, concerned with the most urgent matters. What is worth living for? What is worth dying for? Who is best suited to rule in the state? How should young people be educated? The nature of justice is closely connected with other questions of value, so the discussion freely moves from that central focus to related matters with the primary goal of developing a dialectical philosophy that is both applicable to life and open to all. _Universal Justice_ is concerned with _how_ to think about justice rather than _what_ to think about justice. (shrink)

This article is a sequel to ‘The Liar Syndrome’. It answers in detail the various criticisms of the latter expressed by Roy T. Cook in his article, ‘Curing the Liar Syndrome’, appearing in SATS/Nordic Journal of Philosophy, 3 (2): 126-141 (2002).

This article examines the various Liar paradoxes and their near kin, Grelling’s paradox and Gödel’s Incompleteness Theorem with its self-referential Gödel sentence. It finds the family of paradoxes to be generated by circular definition–whether of statements, predicates, or sentences–a manoeuvre that generates the fatal disorders of the Liar syndrome: semantic vacuity, semantic incoherence, and predicative catalepsy. Afflicted statements, such as the self-referential Liar statement, fail to be genuine statements. Hence they say nothing, a point that invalidates the reasoning on which (...) the various paradoxes rest. The seeming plausibility of the paradoxes is due to the fact that the same sentence may be used to make both the pseudo-statement and a genuine statement about the pseudo-statement. Hence, if a formal system is to avoid ambiguity and consequent seeming paradox, it requires some sort of disambiguator to distinguish the two statements. Gödel’s Theorem presents a further complication in that the self-reference involved is sentential rather than statemental. Nevertheless, on the intended interpretation of the system as a formalization of arithmetic, the self-referential Gödel sentence can only be an ambiguous statement, one that is both a pseudo-statement and its genuine double. Consequently, the conclusions commonly drawn from Gödel’s theorem must be deemed unwarranted. Arithmetic might well be formalized in a proper system that either excludes circular definition or introduces disambiguators. (shrink)

This essay explores the nature of the most rudimentary form of empathy, interpersonal affective echoing, and attempts to give a cogent assessment of the roles it may play in human interactions. As an investigative background, it briefly sketches phenomenological findings with respect to feelings, to non-linguistic cognition, and to the analogical apperception of others. It then offers a phenomenological account of the basic structures of the experience of echoing another person’s feelings in a face-to-face situation. It also notes how echoing (...) differs from analogical apperception (while presupposing the latter), as well as from having one’s usual feelings and emotions. The relationship of echoing to sharing, caring, and morality is also briefly discussed. (shrink)

This book contains fifteen essays all seeking to regain the original meaning of philosophy as the love of wisdom. _Mythos_ and _Logos_ are two essential aspects of a quest that began with the ancient Greeks. As concepts fundamental to human experience, _Mythos_ and _Logos_ continue to guide the search for truth in the twenty-first century.

Several differences between these two texts are evident even from such brief excerpts. Gardner’s story is told in the first person; the eighth-century tale is narrated in the third person. English itself has changed so much in the past twelve centuries that few readers can understand the original, so it must be translated into modern idiom. John Gardner, who died recently in a motorcycle accident, lived in a society that has little in common with that of the unknown author of (...) Beowulf. Not only is the atomic age filled with terrors undreamed by the Medieval mind, the Weltanschauung of each work is different. Although both draw upon Biblical texts to shape the background, Gardner’s existentialism contrasts sharply with the Christianity implicit in Beowulf. The very idea of presenting the story from the perspective of Grendel shows how fundamentally the two pieces diverge. (shrink)