M. J. Budd; XI—Materialism and Immaterialism, Proceedings of the Aristotelian Society, Volume 70, Issue 1, 1 June 1970, Pages 197–220, https://doi.org/10.1093/a.

M. J. Budd; XI—Materialism and Immaterialism, Proceedings of the Aristotelian Society, Volume 70, Issue 1, 1 June 1970, Pages 197–220, https://doi.org/10.1093/a.

In this paper I examine the psychological traits that can play a constitutive role in having an evil character, using a recent affect-based account by Colin McGinn as my starting point. I distinguish several such traits and defend the importance of both affect and action-based approaches. I then argue that someone who possesses these characteristics to the greatest possible extent—the purely evil individual—can actually be less depraved than one whose character is not so thoroughly penetrated by such traits. To illustrate (...) the contrast I have in mind, I use two fictional characters, each of whom exemplifies a different kind of moral extreme: Claggart, from Melville’s Billy Budd, and Wilde’s Dorian Gray. (shrink)

I have three aims in this essay. I want to offer an example of an interdisciplinary historical inquiry combining literary criticism with the relatively new field of critical legal studies. I intend to use this historical inquiry to argue that the ambiguity of literary texts might better be understood in terms of an era’s social contradictions rather than in terms of the inherent qualities of literary language or rhetoric and, conversely, that a text’s ambiguity can help us expose the contradictions (...) masked by an era’s dominant ideology. I try to prove my assertion by applying my method to Herman Melville’s three most famous short works—“Benito Cereno,” “Bartleby, the Scrivener,” and Bill Budd, Sailor—works dealing with the law and lawyers and widely acknowledged as ambiguous.1 I will base my critical inquiry into these stories on Melville’s relationship with his father-in-law, Lemuel Shaw, who, while sitting as the chief justice of the Supreme Judicial Court of Massachusetts from 1830 to 1860, wrote some of the most important opinions in what Roscoe Pound has called “the formative era of American law.”2Before I get started, I should clarify what this study does not entail. By using Shaw and his legal decisions in conjunction with Melville’s fiction, I am not conducting a positivistic influence study. My method will not depend on the positivist assumption that Shaw’s legal opinions can be used to illuminate Melville’s texts only when his direct knowledge of Shaw’s opinions can be proved. Nor will I limit myself to a traditional psychoanalytic reading: my emphasis is on political and social issues, and too often these issues are deflected by translating them into psychological ones. At the same time, I recognize that critics concerned with political and social issues too often neglect questions raised by a writer’s individual situation. I compare Shaw to Melville not to reduce Melville’s politics to psychology but to prevent a political study from neglecting the political implications of psychology, to remind us—as the title of Fredric Jameson’s book The Political Unconscious reminds us—that psychological questions always have political implications. 1. See Herman Melville, “Benito Cereno,” “Bartleby,” and Billy Budd, Sailor, “Billy Budd, Sailor” and Other Stories, ed. Harold Beaver ; all further references to these works will be included in the text.2. See Roscoe Pound, The Formative Era of American Law . For discussions of Melville and Lemuel Shaw, see Charles Roberts Anderson, Melville in the South Seas, Columbia University Studies in English and Comparative Literature, no. 138 , pp. 432-33; Charles H. Foster, “Something in Emblems: A Reinterpretation of Moby-Dick,” New England Quarterly 34 : 3-35; Robert L. Gale, “Bartleby—Melville’s Father-in-Law,” Annali sezione Germanica, Istituto Universitario Orientale di Napoli 5 : 57-72; Keith Huntress, “ ‘Guinea” of White-Jacket and Chief Justice Shaw,” American Literature 43 : 639-41; Carolyn L. Karcher, Shadow over the Promised Land: Slavery, Race and Violence in Melville’s America , pp. 9-11 and 40; John Stark, “Melville, Lemuel Shaw, and ‘Bartleby,’ “ in Bartleby, the Inscrutable: A Collection of Comentary on Herman Melville’s Tale “Bartleby the Scrivener,” ed. M. Thomas Inge , all further references to this work, abbreviated JA, will be included in the text. Brook Thomas teaches English and American literature at the University of Hawaii, Manoa. He is the author of James Joyce’s “Ulysses”: A Book of Many Happy Returns and is at work on a study of the relations between law and literature in antebellum America. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradox of Kandinsky's Abstract RepresentationKenneth BerryThere is a paradox in the relationship between Kandinsky's use of the terms, "abstract" and "concrete," which is presented in the expression, "Kandinsky's abstract representation." Thisexpression, while being apparently contradictory, may point to a feature underpinning Kandinsky's art, which is pivotal to a proper experience of his work, just as, in Christopher Middleton's view, a poetic language may be pivotal to the formation (...) of cultures.1 Art and cultural artifacts are vital to aesthetic experience and aesthetic education, and both the language of art and other languages are instrumental to this end. However, how may Kandinsky's mature abstraction, being in essence objectless, have any claim to representation, and consequently the higher cultural goals of aesthetic expression and the aesthetic enrichment of society?According to Thomas M. Messer, the position of centrality that Kandinsky has assumed in our understanding of modern art is largely due to his having brought to bear on his art, an instinctive awareness of what constituted the central aesthetic issues of his era.2 Kandinsky's writings in Concerning the Spiritual in Art elaborate on his aesthetic theories, and, in particular, [End Page 99] present the view that paintings should be looked at as a graphic representation of a mood rather than as a representation of objects. Messer observes that, for Kandinsky, abstraction, defined as a mode of painting extending beyond the depiction of recognizable objects, having gradually stripped itself of mimetic vestiges, thus becomes paramount. Michael Carter has similarly pointed out that with the pure forms of absolute abstraction, the non-objective colors and shapes of Kandinsky's paintings were regarded as distillations of the aesthetic properties of the artistic sign3 — separable from any referential aspect of art.4 This aesthetic aspect of Kandinsky's work, which became known as nonfigurative, nonobjective, or nonrepresentational,goes along with the cultural — and, as sculptor Anish Kapoor has remarked, "in the deepest, deepest depths of human history the cultural has always been a motivator of people," and has the power to transform society through finding visual equivalents for an emotional language.5Much has been written about Kandinsky's use of color, but perhaps the primary innovation that he made, as in the case of Barnett Newman, was in the field of drawing. Kandinsky was influenced by Gauguin's idea that drawing was an abstraction from memory after nature, just as Gauguin had been affected by the simplified contours and flattened forms of Puvis de Chavannes. Drawing did not come so easily to Kandinsky as color — he had to work harder at drawing, but in his early improvisations, forms and their outlines as graphic symbols came welling up from the unconscious, and eidetic motifs only had to be copied — almost as the art of calligraphy. Kandinsky's "organic" drawing developed as an urge to nonnaturalistic impulses, and during the period of Point and Line to Plane became almost a grammar of form, saved from mere pedantry by the living forces or visual tensions that made various kinds of line operate not just as contours but as dynamic or restful elements within themselves. In 1913, Kandinsky wrote in his "Reminiscences" that, "painting is a thundering collision of different worlds, intended to create a new world in, and from, their struggles with one another, a new world which is the work of art."6 It is clear from this that the Modernist work of art was intended to be a "new world" operating according to its own universal aesthetic laws.Kandinsky is not just a painter; he is also a visual poet. Poetry, according to Tony Curtis, involves the expression of the intensification of experience — the elevation of banal facts of life into something beyond the merely prosaic — something unique and perceptively heightened.7 It involves both imagination and poetic license to explore both ambiguity and paradox. As Scottish poet Norman MacCaig observed, poetry renders the ordinary extraordinary, seeing the unfamiliar in the familiar.8 Creative analogical thinking such as evinced in Kandinsky's art, often involves breaking free of a clichéd representation.Malcolm Budd has remarked that, in its most exclusive sense, a work... (shrink)

Is it possible to establish a line of research that brings Gabriel Marcel and Jean-Paul Sartre closer together? With this article, we will positively support this idea, by distancing ourselves from the overly rigid interpretations that exclusively focus on antinomic elements sliding into a reductionist and nowadays “canonical” presentation of the relationship between these philosophers. Beyond the undeniable and, fortunately, unmediated differences between the two philosophers, this article aims to investigate their positions regarding the concept of “relationship”. In doing so, (...) we will highlight how Gabriel Marcel’s “coesse” and Jean-Paul Sartre’s “being-for-others” have numerous points of contact that place both philosophers, beyond their personal positions in the religious sphere, within the common ground of “existentialism”. (shrink)

Reference is a central topic in philosophy of language, and has been the main focus of discussion about how language relates to the world. R. M. Sainsbury sets out a new approach to the concept, which promises to bring to an end some long-standing debates in semantic theory.There is a single category of referring expressions, all of which deserve essentially the same kind of semantic treatment. Included in this category are both singular and plural referring expressions, complex and non-complex referring (...) expressions, and empty and non-empty referring expressions. Referring expressions are to be described semantically by a reference condition, rather than by being associated with a referent. In arguing for these theses, Sainsbury's book promises to end the fruitless oscillation between Millian and descriptivist views. Millian views insist that every name has a referent, and find it hard to give a good account of names which appear not to have referents, or at least are not known to do so, like ones introduced through error, ones where it is disputed whether they have a bearer and ones used in fiction. Descriptivist theories require that each name be associated with some body of information. These theories fly in the face of the fact names are useful precisely because there is often no overlap of information among speakers and hearers. The alternative position for which the book argues is firmly non-descriptivist, though it also does not require a referent. A much broader view can be taken of which expressions are referring expressions: not just names and pronouns used demonstratively, but also some complex expressions and some anaphoric uses of pronouns.Sainsbury's approach brings reference into line with truth: no one would think that a semantic theory should associate a sentence with a truth value, but it is commonly held that a semantic theory should associate a sentence with a truth condition, a condition which an arbitrary state of the world would have to satisfy in order to make the sentence true. The right analogy is that a semantic theory should associate a referring expression with a reference condition, a condition which an arbitrary object would have to satisfy in order to be the expression's referent.Lucid and accessible, and written with a minimum of technicality, Sainsbury's book also includes a useful historical survey. It will be of interest to those working in logic, mind, and metaphysics as well as essential reading for philosophers of language. (shrink)

This volume offers the first-ever complete English translation of Leibniz’s Dissertatio De Arte Combinatoria together with a critical edition of the original Latin text on fa...

In this paper, we argue that there are reasons to believe that an implicit bias for normalcy influences what are considered medically necessary treatments in psychiatry. First, we outline two prima facie reasons to suspect that this is the case. A bias for ‘the normal’ is already documented in disability studies; it is reasonable to suspect that it affects psychiatry too, since psychiatric patients, like disabled people, are often perceived as ‘weird’ by others. Secondly, psychiatry's explicitly endorsed values of well-being (...) and function are hard to measure directly, which is why we see simpler box-ticking conceptions of recovery used in large research studies. This need not be problematic, but might lead to researchers and clinicians focusing too much on treatments that promote easy-to-measure proxies for recovery, instead of what actually matters to psychiatric patients themselves. Next, we provide examples of treatments and treatment decisions within two areas – self-injury and psychosis – which are hard to explain unless we assume that an implicit and harmful normalcy bias is at work. We conclude with some suggestions for clinicians and future research. (shrink)

This paper is a review of work on Newman's objection to epistemic structural realism (ESR). In Section 2, a brief statement of ESR is provided. In Section 3, Newman's objection and its recent variants are outlined. In Section 4, two responses that argue that the objection can be evaded by abandoning the Ramsey-sentence approach to ESR are considered. In Section 5, three responses that have been put forward specifically to rescue the Ramsey-sentence approach to ESR from the modern versions of (...) the objection are discussed. Finally, in Section 6, three responses are considered that are neutral with respect to one's approach to ESR and all argue (in different ways) that the objection can be evaded by introducing the notion that some relations/structures are privileged over others. It is concluded that none of these suggestions is an adequate response to Newman's objection, which therefore remains a serious problem for ESRists. Introduction Epistemic Structural Realism 2.1 Ramsey-sentences and ESR 2.2 WESR and SESR The Objection 3.1 Newman's version 3.2 Demopoulos and Friedman's and Ketland's versions Replies that Abandon the Ramsey-Sentence Approach to ESR 4.1 Redhead's reply 4.2 French and Ladyman's reply Replies Designed to Rescue the Ramsey-Sentence Approach 5.1 Zahar's reply 5.2 Cruse's reply 5.3 Melia and Saatsi's reply Replies that Argue that Some Structures/Relations are Privileged 6.1 A Carnapian reply 6.2 Votsis' reply 6.3 The Merrill/Lewis/Psillos reply Summary CiteULike Connotea Del.icio.us What's this? (shrink)

Donation after circulatory determination of death (DCDD) is an accepted practice in the United States, but heart procurement under these circumstances has been debated. Although the practice is experiencing a resurgence due to the recently completed trials using ex vivo perfusion systems, interest in thoracoabdominal normothermic regional perfusion (TA-NRP), wherein the organs are reanimated in situ prior to procurement, has raised many ethical questions. We outline practical, ethical, and equity considerations to ensure transplant programs make well-informed decisions about TA-NRP. We (...) present a multidisciplinary analysis of the relevant ethical issues arising from DCDD-NRP heart procurement, including application of the Dead Donor Rule and the Uniform Definition of Death Act, and provide recommendations to facilitate ethical analysis and input from all interested parties. We also recommend informed consent, as distinct from typical “authorization,” for cadaveric organ donation using TA-NRP. (shrink)

Obiettivo di questo articolo sarà presentare l’analisi fenomenologica e teoretica che Sartre propone del concetto di malafede, a partire dal romanzo La Nausea fino all’opera L’essere e il nulla. Ricostruendo il procedimento sartriano, che dall’atteggiamento interrogativo dell’uomo di fronte all’essere porta alla posizione del non-essere, giungeremo alla libertà e all’angoscia, quali caratteri costitutivi dell’essenza umana. Il tentativo di fuggire dalla libertà, a cui per Sartre siamo condannati, e dall’angoscia che da essa deriva, condurrà l’uomo sartriano all’autoinganno, ad una vita inautentica… (...) alla malafede. (shrink)

This book presents state of the art philosophical work on conspiracy theory research that brings in sharp focus on central and important insights concerning the supposed irrationality of conspiracy theory and conspiracy theory belief, while also proposing several novel solutions to long standing issues in the broader academic debate on these things called ‘conspiracy theories’. -/- It features a critical history of conspiracy theory theory, emphasising the role of the ‘first generation’ of philosophers in conspiracy theory research. This book also (...) includes discussions of a range of key issues such as: -/- What counts as conspiracy theory? Who counts as a conspiracy theorist? How are these terms variously understood by academics and the wider public, and Are conspiracy theories automatically suspect, and is it ever reasonable to be a conspiracy theorist? The book then builds upon that work by looking at how people’s political views affect both the conspiracy theories they believe and their beliefs about conspiracy theories; how we might defend conspiracy theorising without endorsing mad, bad or dangerous conspiracy theories; and contains several proposals for unifying conspiracy theory research under one theoretical framework: particularism. -/- This volume will be a key resource for philosophers and social scientists interested in recent work on the philosophy of conspiracy theory theory and its implications for conspiracy theory research. It will also appeal to members of the public, who want to know what, if anything, is wrong with these things called “conspiracy theories”. It was originally published as a special issue of Social Epistemology. (shrink)

Zhizneopisanie -- Kniga znanii︠a︡ -- Ukazanii︠a︡ i nastavlenii︠a︡ -- Kniga o dushe.

This book analyzes for the first time in English the ethical theory that underpins Qur’anic legislation by providing a classification of specific verses in which Islam’s holy book discusses moral issues. The principal purpose of this book is to demonstrate the ways in which the Qur’an theoretically and practically provides the moral code to which Muslims around the world adhere. The author divides his analysis into a survey of Qur’anic attitudes towards the basic ethical issues of obligation and responsibility, issues (...) of moral psychology such as motivation and intention, as well as matters of social ethics such as the function of law in society. He then explores the meanings of individual morality, morality within the family and civil society, and the relationship of morality to the idea of the state. (shrink)

Contempt is typically studied as a uniquely human moral emotion. However, this approach has yielded inconclusive results. We argue this is because the folk affect concept “contempt” has been inaccurately mapped onto basic affect systems. “Contempt” has features that are inconsistent with a basic emotion, especially its protracted duration and frequently cold phenomenology. Yet other features are inconsistent with a basic attitude. Nonetheless, the features of “contempt” functionally cohere. To account for this, we revive and reconfigure thesentimentconstruct using the notion (...) of evolved functional specialization. We develop the Attitude–Scenario–Emotion (ASE) model of sentiments, in which enduring attitudes represent others' social-relational value and moderate discrete emotions across scenarios. Sentiments are functional networks of attitudes and emotions. Distinct sentiments, includinglove,respect,like,hate, andfear, track distinct relational affordances, and each is emotionally pluripotent, thereby serving both bookkeeping and commitment functions within relationships. The sentimentcontemptis an absence ofrespect; from cues to others' low efficacy, it represents them as worthless and small, mutingcompassion,guilt, andshameand potentiatinganger,disgust, andmirth. This sentiment is ancient yet implicated in the ratcheting evolution of human ultrasocialty. The manifolds of thecontemptnetwork, differentially engaged across individuals and populations, explain the features of “contempt,” its translatability, and its variable experience as “hot” or “cold,” occurrent or enduring, and anger-like or disgust-like. This rapprochement between psychological anthropology and evolutionary psychology contributes both methodological and empirical insights, with broad implications for understanding the functional and cultural organization of social affect. (shrink)

Richard M Weaver, a thinker and writer celebrated for his unsparing diagnoses and realistic remedies for the ills of our age, is known largely through a few of his works that remain in print. This new collection of Weaver's shorter writings, assembled by Ted J Smith III, Weaver's leading biographer, presents many long-out-of-print and never-before-published works that give new range and depth to Weaver's sweeping thought. Included are eleven previously unpublished essays and speeches that were left in near-final form at (...) the time of Weaver's death in 1963. In all, there are some one hundred and twenty-six essays, speeches, book reviews, and editorials. (shrink)

Hegel's Philosophy of Right concerns ideas on justice, moral responsibility, family life, economic activity, and the political structure of the state. It shows how human freedom involves living with others in accordance with publicly recognized righs and laws. This edition combines a revised translation with a cogent introduction to Hegel's work.