This paper presents a pilot study in the "epidemiological" program for cultural research put forward by Dan Sperber. Theory is offered to argue that verse form is so disabling that its worldwide distribution must be explained by functions other than the broad communicative, or ideological, power traditionally attributed to it. The theoretical case is confirmed by numerical data showing that in matched texts of English prose and verse the latter contain words of a lower mean length (measured in syllables). Candidate (...) hypotheses for the epidemiology of verse are offered, including design for mnemonic properties, the registration of differences in verbal intelligence, the presentation of gestures of commitment, and the introduction of levels of quasi-randomness that lead to an impression of semantic richness and the illusion of profound and powerful communication. (shrink)

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

One of John Constable’s highest achievements, his “skying” campaign of the summers of 1821 and 1822 in Hampstead Heath, connects the seventeenth-century approach to landscape to the modernist vision of it in a singular manner. This is the starting point of my investigation of Constable’s cloudscapes, an investigation that aims to bring attention to their vanguard position in actually heralding the concept of “lifeworld,” a concept that was to prove crucial to the development of Modernism. In connecting (...) the Dutch quotidian approach to life with the impressionists’ search for immanence, Constable’s skies became an essential bridge in the history of modern art. His own very personal treatment of natural phenomena as manifestations of spiritual life represents the transition from the naturalist view of nature to a more human-focused – later to be called realist – view of the natural world. (shrink)

John Constable is one of England’s best-known landscape painters and greatest artists. While few will object to this statement, what it means will depend on when it was made. In the 150 years since his death in 1837, the terms of Constable’s greatness have shifted several times. In the nineteenth century his scenes of the Stour Valley in Suffolk were valued as images of a particularly English countryside: the placid river with its locks and barges, great overhanging (...) trees, and distant green water-meadows beneath massive cloudy skies. In this century, though the popular conviction of his Englishness persists, Constable is better known as “The Natural Painter.”1 As modernism rewrote the history of art, Constable was rediscovered as the man who excited Eugène Delacroix and other French artists in the 1820s: the natural painter whose freedom of technique, color, and chiaroscuro suggested a new way of representing the truth of landscape. The happy accident of his reception in France in the 1820s anchors English claims to participate in the development of an international style that moves through impressionism toward the more purely painterly and formal values of modernism. This Constable probably still dominates contemporary critical discussions of his work: the truthful student of nature who is also a painter’s painter.2 There is more than a little chauvinism in this view of Constable, but it is the national feeling of a less confident age, always looking over its shoulder to other countries like France. 1. This is the title of Graham Reynolds’ seminal book, Constable, the Natural Painter .2. See, for example, Malcolm Cormack’s recent book, Constable ; hereafter abbreviated C. Elizabeth Helsinger is professor of English at the University of Chicago and coeditor of Critical Inquiry. Her Ruskin and the Art of the Beholder was published in 1982. This essay is part of a book in progress on representations of the rural scene in Victorian England. (shrink)

The nature of psychoanalysis seems contradictory - deeply personal, subjective and intuitive, yet requiring systematic theory and principles of technique. The objective quality of psychoanalytic knowledge is paradoxically dependent on the personal engagement of the knower with what is known. In The Dove that Returns, The Dove that Vanishes , Michael Parsons explores the tension of this paradox. As they respond to it, and struggle to sustain it creatively, analysts discover their individual identities. The work of outstanding clinicians such as (...) Marion Milner and John Klauber is examined in detail. The reader also encounters oriental martial arts, Greek Tragedy, the landscape painting of John Constable, a Winnicottian theory of creativity and a discussion of the significance of play in psychoanalysis. From such varied topics evolves a deepening apprehension of the nature of the clinical experience. Illustrated throughout with clinical examples, The Dove that Returns, The Dove that Vanishes will prove valuable to those in the field of psychoanalysis, and to those in the arts and humanities who are interested in contemporary psychoanalytic thinking. (shrink)

In his 1836 lectures to the Royal Institute, the great landscape painter John Constable stated that ‘Painting is a science, and should be pursued as an inquiry into the laws of nature.’ Landscape, he went on to say, should ‘be considered a branch of natural philosophy, of which pictures are but the experiments.’1Constable makes two claims in this striking passage. The first is that painting is a form of inquiry. This is, by itself, a bold claim, but (...) class='Hi'>Constable goes on to state that painters and scientists inquire in the same way. As controversial as these views are, both of them have been sympathetically entertained in recent years by several philosophers. In particular, Nelson Goodman and Catherine Elgin have maintained that painting, and the other arts, are forms of inquiry, and that they are akin to the sciences in important respects.2I think, however, that Constable is only half right. Although I agree that the arts are forms of inquiry, I will argue that the arts and the sciences employ radically different methods. That the arts and the sciences are very different forms of inquiry might seem to be a point so obvious as to be scarcely worth making. We can, however, appreciate more clearly how the arts can contribute to our knowledge by contrasting its methods with those of science. (shrink)

In his 1836 lectures to the Royal Institute, the great landscape painter John Constable stated that ‘Painting is a science, and should be pursued as an inquiry into the laws of nature.’ Landscape, he went on to say, should ‘be considered a branch of natural philosophy, of which pictures are but the experiments.’1Constable makes two claims in this striking passage. The first is that painting is a form of inquiry. This is, by itself, a bold claim, but (...) class='Hi'>Constable goes on to state that painters and scientists inquire in the same way. As controversial as these views are, both of them have been sympathetically entertained in recent years by several philosophers. In particular, Nelson Goodman and Catherine Elgin have maintained that painting, and the other arts, are forms of inquiry, and that they are akin to the sciences in important respects.2I think, however, that Constable is only half right. Although I agree that the arts are forms of inquiry, I will argue that the arts and the sciences employ radically different methods. That the arts and the sciences are very different forms of inquiry might seem to be a point so obvious as to be scarcely worth making. We can, however, appreciate more clearly how the arts can contribute to our knowledge by contrasting its methods with those of science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Educational Imperative: A Defense of Socratic and Aesthetic LearningMark StockerThe Educational Imperative: A Defense of Socratic and Aesthetic Learning, by Peter Abbs; x & 250 pp. Bristol, Pennsylvania: Taylor & Francis, 1994, $29.00 paper.O tempora! o mores! Peter Abbs begins by deploring “the cultural catastrophe” of British education in the mid-1990s. He states in his always lucid and accessible prose: “I want to come clean; I want (...) to place the general argument of the book in the current arena of public debate, and to do so without apology and without equivocation.” He bemoans today’s massive denial of spiritual energy, of intellectual enquiry, of aesthetic beauty and public virtue. In a better world, he says, education would serve, “willingly and lovingly... the transcendent ends” of culture and society. Abbs decisively rejects the “Cato” model where teachers are unquestioning skill-based technicians who employ [End Page 393] “managerial” language. Instead, he advocates a Socratic view, which is “to reaffirm that education should be primarily concerned with critical reflection, with personal development and with the sustained enquiry into the various forms of meaning.”Subsequent chapters apply this approach to the arts curriculum. Its failure to gain proper recognition and the absurd and continued conflation of Dance and Physical Education are indicted. Abbs convincingly attacks the notion of “self-expression” in art and language long upheld by educationalists. Its application at the expense of reason, abstract thinking, and the study of “the truly significant writers through the centuries” has in his view helped to trivialize and to marginalize the arts. Nowhere is this more apparent than in so-called “educational drama.” For three generations it has denied “the aesthetic field of drama, the symbolic field of its own form,” and has elevated one genre, improvisation, and made it the totality.Abbs is committed to reconciling “the creative energies of the individual and the creative energies of the culture.” Who would argue with that? And who could deny the value of critical reflection or indeed public virtue? He declares, rather ponderously: “The vested interests of Coca-Cola manufacturers or political missionaries have to be seen as too ‘recent and relevant’ to be allowed” to shape education. The Abbs academy requires “a formally protected place, an institutional space more like the theatre than Tesco [a supermarket chain], more like the cathedral than the Stock Exchange.” For all this patent seriousness and sincerity, here is an educationalist irrevocably and irreconcilably out of joint with the present. The austere modernism of Herbert Read profoundly influenced Abbs in his teens; he also admires F. R. Leavis, Richard Hoggart, and David Holbrook, whose writing at its most influential spans the 1930s and the 1960s. Abbs’s most recent source of inspiration is the art critic Peter Fuller, whose abiding legacy was a romantic nationalism that eloquently celebrated an “essentially symbolic and figurative” tradition in British art from J. M. W. Turner to Henry Moore.Modern Painters, which Fuller edited, could afford to eschew popular culture and its connections with “higher” arts. Fine for a periodical, but how could such a fastidious approach be applied to the classroom experience? Abbs describes an experiment that he performed on student-teachers at the University of Sussex to understand their aesthetic responses. Among the events and objects that the students were asked to consider were John Constable’s The Haywain, Richard Strauss’s The Four Last Songs, a visit to Claude Monet’s garden and a performance of Coriolanus. Abbs’s list does not, however, contain Pulp Fiction, a Courtney Love concert, or an S. E. Hinton novel. What place, if any, do the latter have in the arts curriculum? Must they be ruled out for being too “recent and relevant”? Can student responses to them be brought to bear on their comprehension of higher culture? Or is there a great and ultimately irreconcilable divide? Abbs never faces these issues and instead, in his fogyish [End Page 394] coda, denounces once more “the consumer society” which has “trivialized on an unprecedented scale” and has “tarnished whatever it has touched.”Mark StockerUniversity of Canterbury, New ZealandCopyright © 1995 The Johns Hopkins University Press... (shrink)

The book has three main parts. Part 1, “Painting the Land”, opens by considering the emergence of landscape painting in the West from decorative pictures and then displays the possibilities for the sublime which were opened up when landscape painting per se had finally emerged. The painters who receive the most detailed discussion are Fitz Hugh Lane, Thomas Cole, and John Constable. Casey notes that the recent appearance of landscape painting in Western culture is a local phenomenon, and (...) accordingly ends part 1 with a comparatively brief—but necessary and illuminating—treatment of Northern Sung landscape works from the tenth to twelfth centuries A.D.. The main philosophical concern of part 1 is to make clear what it is that representations of landscapes do, and how the task of relocating the all-encompassing landscape in a restricted representational space navigates among the decorative, the painterly, and the topographic. (shrink)

George Santayana published The Realm of Matter and The Genteel Tradition at Bay. He continued work on Book Three of Realms of Being, The Realm of Truth, and on his novel, The Last Puritan. Citing his commitment to his writing and his intention to retire from academia, he declined offers from Harvard University for the Norton Chair of Poetry and for a position as William James Professor of Philosophy, as well as offers for positions at the New School for Social (...) Research and Brown University. The deaths of his half sisters, Susan Sturgis de Sastre and Josephine Sturgis, in 1928 and 1930, respectively, were extremely distressing to him. Santayana and Charles Strong continued their epistolary debate over the nature and perception of reality and the problem of knowledge. The book also includes letters to Robert Bridges, Cyril Clemens, Morris R. Cohen, Curt John Ducasse, Sydney Hook, Horace Meyer Kallen, Walter Lippmann, Ralph Barton Perry, William Lyon Phelps, and Herbert W. Schneider. Santayana sent many letters with articles and reviews to journalists Wendell T. Bush, Henry Seidel Canby, Wilbur Cross, and John Middleton Murry. Discussion of his novel and continuing work on Realms of Being took place with Otto Kyllmann and John Hall Wheelock, his editors at Constable and Scribner's. Although Santayana now made the Hotel Bristol in Rome his permanent residence, he continued to travel in England, France, and Italy. (shrink)

John Gibbons presents an original account of epistemic normativity. Belief seems to come with a built-in set of standards or norms. One task is to say where these standards come from. But the more basic task is to say what those standards are. In some sense, beliefs are supposed to be true. Perhaps they’re supposed to constitute knowledge. And in some sense, they really ought to be reasonable. Which, if any of these is the fundamental norm of belief? The (...) book argues against the teleological or instrumentalist conception of rationality that sees being reasonable as a means to our more objective aims, either knowledge or truth. And it tries to explain both the norms of knowledge and of truth in terms of the fundamental norm, the one that tells you to be reasonable. The importance of being reasonable is not explained in terms of what it will get you, or what you think it will get you, or what it would get you if only things were different. The requirement to be reasonable comes from the very idea of what a genuine requirement is. That’s where the built-in standards governing belief come from, and that’s what they are. (shrink)

Presents John Locke's seventeenth-century classic work on political and social theory; and includes a history of the text, as well as notes and a bibliography.

John R. Schneider explores the problem that animal suffering, caused by the inherent nature of Darwinian evolution, poses to belief in theism. Examining the aesthetic aspects of this moral problem, Schneider focuses on the three prevailing approaches to it: that the Fall caused animal suffering in nature (Lapsarian Theodicy), that Darwinian evolution was the only way for God to create an acceptably good and valuable world (Only-Way Theodicy), and that evolution is the source of major, God-justifying beauty (Aesthetic Theodicy). (...) He also uses canonical texts and doctrines from Judaism and Christianity - notably the book of Job, and the doctrines of the incarnation, atonement, and resurrection - to build on insights taken from the non-lapsarian alternative approaches. Schneider thus constructs an original, God-justifying account of God and the evolutionary suffering of animals. His book enables readers to see that the Darwinian configuration of animal suffering unveiled by scientists is not as implausible on Christian theism as commonly supposed. (shrink)

When and why are coercion, indoctrination, manipulation, deception, and bullshit morally wrongful modes of influence in the context of educating children? Answering this question requires identifying what valid claims different parties have against one another regarding how children are influenced. Most prominently among these, it requires discerning what claims children have regarding whether and how they and their peers are influenced, and against whom they have these claims. The claims they have are grounded in the weighty interests they each equally (...) have in their wellbeing, prospective autonomy and being regarded with equal concern and respect. Plausibly children have valid claims regarding the content and means of influence they themselves are subjected to. For instance, considerations of concern and respect for children confer duties on others enable them to know important information and develop important skills. Children also plausibly have valid claims to be free from certain means of influence including indoctrination. This is because indoctrinatory practices threaten to diminish both their capacity to reason soundly, thereby constituting a wrongful harm, and their opportunities to form judgements and choices in response to relevant evidence and reasons, thereby constituting a wrong of disrespect. (shrink)

I review recent empirical findings on knowledge attributions in lottery cases and report a new experiment that advances our understanding of the topic. The main novel finding is that people deny knowledge in lottery cases because of an underlying qualitative difference in how they process probabilistic information. “Outside” information is generic and pertains to a base rate within a population. “Inside” information is specific and pertains to a particular item’s propensity. When an agent receives information that 99% of all lottery (...) tickets lose (outside information), people judge that she does not know that her ticket will lose. By contrast, when an agent receives information that her specific ticket is 99% likely to lose (inside information), people judge that she knows that her ticket will lose. Despite this difference in knowledge judgments, people rate the likelihood of her ticket losing the exact same in both cases (i.e. 99%). The results shed light on other factors affecting knowledge judgments in lottery cases, including formulaic expression and participants’ own estimation of whether it is true that the ticket will lose. The results also undermine previous hypotheses offered for knowledge denial in lottery cases, including the hypotheses that people deny knowledge because they either deny justification or acknowledge a chance for error. (shrink)

In a fair, infinite lottery, it is possible to conclude that drawing a number divisible by four is strictly less likely than drawing an even number; and, with apparently equal cogency, that drawing a number divisible by four is equally as likely as drawing an even number.

Objectivity is a key concept both in how we talk about science in everyday life and in the philosophy of science. This Element explores various ways in which recent philosophers of science have thought about the nature, value and achievability of objectivity. The first section explains the general trend in recent philosophy of science away from a notion of objectivity as a 'view from nowhere' to a focus on the relationship between objectivity and trust. Section 2 discusses the relationship between (...) objectivity and recent arguments attacking the viability or desirability of 'value free' science. Section 3 outlines Longino's influential 'social' account of objectivity, suggesting some worries about drawing too strong a link between epistemic and ethical virtues. Section 4 turns to the value of objectivity, exploring concerns that notions of objectivity are politically problematic, and cautiously advocating in response a view of objectivity in terms of invariance. (shrink)

John Foster presents a penetrating investigation into the question: what is it to perceive a physical object? Is perceptual contact with a physical object, he asks, something fundamental, or does it break down into further factors? If the latter, what are these factors, and how do they combine to secure the contact? For most of the book, Foster addressed these questions in the framework of a realist view of the physical world. But the arguments which thereby unfold - arguments (...) which undermine direct realism and establish a version of the sense-datum theory - lead to the conclusion that we do no perceive physical objects at all. The only way to avoid this conclusion is by abandoning physical realism for a form of idealism, and this is the option which Foster finally embraces. The Nature of Perception makes an important contrbution to the ongoing debate: it sheds fresh light on the traditional issues, and breathes new life into positions which most current philosophers assumeto be dead. (shrink)

Deeply moved by his experiences in the trenches of the First World War, the Scottish philospher John Macmurray came to challenge the conventions inherited from European traditions of thought and mounted an assault on impersonal philosophies that failed to address needs and emotional reality.

Broaching an understanding of nature in Platonic thought, John Sallis goes beyond modern conceptions and provides a strategy to have recourse to the profound sense of nature operative in ancient Greek philosophy. In a rigorous and textually based account, Sallis traces the complex development of the Greek concept of nature. Beginning with the mythical vision embodied in the figure of the goddess Artemis, he reanimates the sense of nature that informs the fragmentary discourses of Anaximenes, Heraclitus, Parmenides, and Empedocles (...) and shows how Plato takes up pre-Socratic conceptions critically while also being transformed. Through Sallis’s close reading of the Theaetetus and the Phaedo, he recovers the profound and comprehensive concept of nature in Plato’s thought. (shrink)

Research Articles John Tomasi, Social Philosophy and Policy, FirstView Article.

Following a brief summation of the phenomenological method, the paper considers three metaethical positions adopted by phenomenologists and the implications of those positions for a normative ethics. The metaethical positions combine epistemological and ontological viewpoints. They are non-intellectualism and strong value realism as represented by the axiological views of phenomenologists such as Scheler, Meinong, Reinach, Stein, Hartmann, von Hildebrand, and Steinbock; non-intellectualism and anti-realism as represented by the freedom-centered phenomenologies of Sartre, Beauvoir, and Merleau-Ponty; and weak intellectualism and weak value (...) realism as represented by Husserl and Drummond. The paper argues that only the third metaethical view can support a normative ethics that is consistent with the essential features of the phenomenological method, that allows for freedom in an agent’s choosing from a multiplicity of first-order goods, including vocational goods, practical identities, and life plans, available in the agent’s factical circumstances, and that provides norms governing the correctness of our actions and our obligations to others. The normative dimension is introduced, first, by the requirement that the fulfillment of first-order evaluations and choices be truthful, that is, that the evaluations be appropriate and the actions right. Second, transcendental considerations revealed in the phenomenological analysis of intentional experience disclose a notion of second-order goods of agency that universally bind agents in their exercise of freedom and their dealings with others. (shrink)

'John Toland's Letters to Serena' is one of the most important texts of the early Enlightenment. Synthesizing an array of European thought, the Letters was not only significant for Toland's own 'freethinking' cause, but also provided crucial foundations for the 'vitalist' materialism characterising later Enlightenment thought.

John Passmore was a renowned Australian empirical philosopher and historian of ideas. In this book, which was originally published in 1952, Passmore's intention was to disentangle certain main themes in Hume's philosophy and to show how they relate to Hume's main philosophic purpose. Rather than offering a detailed commentary, the text provides an account based on specificity and critical scholarship, seeking to complement the other more comprehensive works on Hume's philosophy that had become available around the same time. This (...) book will be of value to anyone with an interest in perspectives on Hume and Passmore's philosophical approach. (shrink)

In this awaited follow up to his book _Faithful Reason_, the well-known philosopher and Catholic thinker John Haldane brings his unrivalled insight to bear on questions of the existence of God and the nature and destiny of the human soul. His arguments weave elements drawn from philosophy of mind, epistemology and aesthetics, together with recurrent features of human experience to create a structure that simultaneously frames and supports ideas such as that the cosmos is a creation, human beings transcend (...) their material composition, and that human fulfilment lies beyond death. As in many of his other writings this volume blends themes from Aquinas with insights drawn from analytical philosophy and further establishes John Haldane as the leading 'analytical thomist'. (shrink)

The somewhat superannuated “problem of other minds” has unexpectedly risen from the dead, and, in its current incarnation, concerns the mental states of those who never lived.

According to reliabilist virtue epistemology, or virtue reliabilism, knowledge is true belief that is produced by intellectual excellence (or virtue), where intellectual excellence is understood in terms of reliable, truth-directed cognitive dispositions. This essay explains why virtue reliabilism is a form of epistemological externalism, is a moderately naturalized epistemology, and is distinct from virtue responsibilism. We explain virtue reliabilism’s answers to various forms of skepticism, its solution to the Gettier Problem, and its explanation of the value of knowledge. We also (...) describe several varieties of contemporary virtue reliabilism. Finally, we offer replies to two recently prominent objections to virtue reliabilism: that it is committed to an untenable epistemological individualism, and that there are empirical reasons to doubt whether people generally have the kinds of intellectual abilities that virtue reliabilism requires for knowledge. (shrink)

I review recent work from armchair and cross-cultural epistemology on whether humans possess a knowledge concept as part of a universal “folk epistemology.” The work from armchair epistemology fails because it mischaracterizes ordinary knowledge judgments. The work from cross-cultural epistemology provides some defeasible evidence for a universal folk epistemology. I argue that recent findings from comparative psychology establish that humans possess a species-typical knowledge concept. More specifically, recent work shows that knowledge attributions are a central part of primate social cognition, (...) used to predict others’ behavior and guide decision-making. The core primate knowledge concept is that of truth detection (across different sensory modalities) and retention (through memory) and may also include rudimentary forms of indirect truth discovery through inference. In virtue of their evolutionary heritage, humans inherited the primate social-cognitive system and thus share this core knowledge concept. (shrink)

John J. Stuhr, a leading voice in American philosophy, sets forth a view of pragmatism as a personal work of art or fashion. Stuhr develops his pragmatism by putting pluralism forward, setting aside absolutism and nihilism, opening new perspectives on democracy, and focusing on love. He creates a space for a philosophy that is liable to failure and that is experimental, pluralist, relativist, radically empirical, radically democratic, and absurd. Full color illustrations enhance this lyrical commitment to a new version (...) of pragmatism. (shrink)

John Wilson; Does Equality (of Opportunity) Make Sense in Education?, Journal of Philosophy of Education, Volume 25, Issue 1, 30 May 2006, Pages 27–32, https://.

A fascinating collection of essays by leading scholars in the field engage with the idea of religious pluralism mooted by John Hick to offer incisive insights on religious pluralism and related themes and to address practical aspects such as interreligious spirituality and worship in a multi-faith context.