In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in (...) order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in (...) order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response and Rejoinder DOES PHILOSOPHY NEED LITERATURE? a critical response by Hugh Mercer Curtler In the second issue of this journal,1 Jesse Kalin argues most provocatively that "philosophy needs literature" because the latter is capable of "rehearsing and exhibiting," as philosophy is not, "the moral construction of one's own life, namely that part of it in which concern and value" are involved (p. 182). Two of John (...) Barth's novels— The Floating Opera and The End of The Road—are used as examples and, according to Kalin, provide evidence for his thesis that philosophical novels present a certain kind of philosophical material in the only way it can be presented. More specifically, Kalin claims that these two novels (1) are both about nihilism, (2) advance the philosophical argument that nihilism is false, and (3) present this argument in a way it could not otherwise be presented. In Kalin's words, "the philosophical argument of these two novels cannot be presented in the normal non-literary mode exemplified by the essay and journal article" (p. 178). I shall examine each of these claims in turn. To say that Barth's novels are "about" moral nihilism is either trivially true or wrong-headed. If Kalin means that the novels "have to do with" moral nihilism, this is^ certainly true but not very significant. We might also say The End of The Road is about illegal abortion, the delights of teaching in a community college, or the trials and tribulations of a bachelor in a small town in Maryland. It appears, then, that Kalin has something more in mind; namely, that the point of the novel is an examination of moral nihilism. That this is indeed Kalin's intention would seem apparent from the second claim listed above: that Barth's novels argue that moral nihilism is "false." I shall examine the question ofwhether these novels "argue" the falsity of moral nihilism in a moment, but first I must raise an objection to the prior claim that such is the point of the novel. A novel does not make a point; it makes a great many points, it 110 Hugh Mercer Curtler111 provokes thought and raises questions, it suggests possibilities, it states truths (plural), and above all else it presents dramatically. That is to say, insofar as the novel is a work of art it does these things, and it is primarily a work of art. In terms of the contents of the novel, what we find is a host of images, thought fragments, figures, suggestions, hints, bits and pieces, and —if the novelist is a good one, like Barth—some valuable insights. If the novelist is a great one, then the insights are profound and worthy of repeated examination and reflection, although we may not always be able to make out precisely what the novelist has said; the novelist is a master of disguises and sleight of hand. The way of saying things is for him quite often more important than what is said. It is clear I share with Kalin very few assumptions about the nature of literature, or poetry, and its relationship to philosophy. With regard to his central claim that the "argument" of Barth's novels is (1) philosophical and (2) incapable of being presented in another form, I shall argue that because (2) is true (1) must be false. To prepare the way, I shall begin with a brief examination of the nature of "argument" as it applies in our present context. Kalin states that the argument presented by Barth in the novels is a "literarily advanced exhibitionary argument" (p. 180). What does it mean, though, to say the novel "argues" at all? Kalin surely does not contend that Barth is arguing philosophically in the manner of, say, Gilbert RyIe or even Kalin himself, hence his characterization of the argument as "exhibitionary." Barth's "argument," we must assume, seeks to persuade rather than to prove in any narrow logical sense of that term. Persuasion, in turn, is intuitive rather than reasoned, as suggested by Kalin's insistance that the argument cannot be separated from its literary form. As Kalin would have it, the novelist creates a... (shrink)

Designed to immediately engage students and other readers in philosophical reflection, the new edition of Ethical Argument: Critical Thinking in Ethics bridges the gap between ethical theory and practice. This brief introduction combines a discussion of ethical theory with fundamental elements of critical thinking--including informal fallacies and the basics of logic--and uses case studies and practical applications to illustrate concepts. Author Hugh Mercer Curtler presents a carefully formulated critique of ethical relativism, encouraging students to reason along with him (...) and to question his argument at every point. This approach enables students to think systematically about ethical issues and to acquire basic skills in argumentation at the same time. They will learn how to bring principles to bear on ethical conflict, how to weigh pros and cons, how to recognize good ethical reasons, and how to distinguish sound argumentation from rationalization. The second edition of Ethical Argument: Critical Thinking in Ethics includes new exercises and examples, summary boxes, cartoons, and sample dialogues that demonstrate how to effectively debate ethical positions. It features more than forty case studies on ethical issues that are interesting and relevant to students. An ideal core text for courses in introductory ethics, this concise volume can be used along with additional primary sources, case studies, or newspaper articles and novels. It is also a helpful supplementary text for courses in applied ethics--including professional, business, and medical ethics--and in critical thinking. (shrink)

THE ESSAY IS A REPLY TO NORMAN BOWIE'S EARLIER ARTICLE "ASPECTS OF KANT'S PHILOSOPHY OF LAW" IN THE "FORUM" (VOL. II, 4). CONTRARY TO BOWIE, I CONTEND THAT THE NATURAL LAW ELEMENTS PREDOMINATE IN KANT'S PHILOSOPHY OF LAW. THE CITIZEN CONFRONTED BY A CIVIL LAW THAT RUNS COUNTER TO THE MORAL LAW HAS ALTERNATIVES OTHER THAN REBELLION. HE CAN (1) SEEK REFORM OF THE LAW, (2) OFFER 'NEGATIVE RESISTANCE' TO THE LAW, OR (3) 'AVOID SOCIETY ALTOGETHER'-BREAK THE SOCIAL CONTRACT.

Reading good books -- After virtue, what? -- All's fair in war and politics -- Captain relative, be gone! -- Dumbing down the kids -- What became of God? -- The philosopher meets John Madden -- What's on TV tonight? -- Flotsam and Jetsam.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in (...) order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

I develop a broadly reliabilist theory of non-ideal epistemic rationality and argue that if it is correct we should reject the recently popular idea that the standards of non-ideal epistemic rationality are mere social conventions.

"'There is only one thing that is certain, namely that we can have nothing certain; and therefore it is not certain that we can have nothing certain,' Samuel Butler once said, expressing in that mindbloggler all the elements required to form a classical paradox. Throughout the ages wise men and jesters alike have been intrigued by such mental twists and riddles which defy common sense and yet appear to be true." -- Dust jacket.

R.I.G Hughes offers the first detailed and accessible analysis of the Hilbert-space models used in quantum theory and explains why they are so successful.

Since its publication in 1918, Oswald Spengler's The Decline of the West has been the object of academic controversy and opprobrium. In their efforts to dispose of it, scholars have resorted to a variety of tactics: bitter invective, icy scorn, urbane mockery, or simply pretending that the book is not there. Yet generations of readers have refused to be warned off, finding in Spengler a prophetic voice and a source of profound intellectual excitement. H. Stuart Hughes's Oswald Spengler offers a (...) judicious and objective reading of Spengler's works that admirably fills the gap between hypercritical invective and naive enthusiasm. This pioneering volume makes clear why Spengler's pessimistic reading of the fate of European civilization continues to resonate with contemporary anxieties. Despite the author's self-imposed intellectual and social isolation, Spengler's work was as Hughes demonstrates, a part of the enormous effort of intellectual reevaluation that has characterized the early twentieth century. Viewing Spengler in the broadest possible perspective, the author places his thought in its cultural relationship to that of such predecessors as Giambattista Vico, Friedrich Nietzsche, and Nikolai Danilevsky and contemporaries including Benedetto Croce, Henri Bergson, and Vilfredo Pareto. A chapter of Hughes's book is devoted to Spengler's influence on later cyclical thinkers such as Arnold Toynbee and Pitirim Sorokin. Another chapter clarifies the essentially antagonistic relationship between his thought and Nazi ideology. Throughout, Hughes is carefully attuned to the complex and often bewildering shifts of Spengler's ideas and manner, providing a unified picture of the sober historian; the lofty seer; the cool, detached observer; and the impassioned participant. In his introduction to this new edition, Hughes comments on the timeliness of Spengler's message with respect to technology and environmental issues and draws some unexpected and fascinating parallels between Spengler's thought and that of Ludwig Wittgenstein. Oswald Spengler offers an illuminating view of the achievements and limitations of one of the most influential and representative figures of the twentieth century. It will be of concern to intellectual historians, philosophers, political scientists, and sociologists. (shrink)

Increasingly the body is a possession that does not belong to us. It is bought and sold, bartered and stolen, marketed wholesale or in parts. The professions - especially reproductive medicine, transplant surgery, and bioethics but also journalism and other cultural specialists - have been pliant partners in this accelerating commodification of live and dead human organisms. Under the guise of healing or research, they have contributed to a new 'ethic of parts' for which the divisible body is severed from (...) the self, torn from the social fabric, and thrust into commercial transactions -- as organs, secretions, reproductive capacities, and tissues -- responding to the dictates of an incipiently global marketplace. Breaking with established approaches which prioritize the body as 'text', the chapters in this book examine not only images of the body-turned-merchandise but actually existing organisms considered at once as material entities, semi-magical tokens, symbolic vectors and founts of lived experience. The topics covered range from the cultural disposal and media treatment of corpses, the biopolitics of cells, sperm banks and eugenics, to the international trafficking of kidneys, the development of 'transplant tourism', to the idioms of corporeal exploitation among prizefighters as a limiting case of fleshly commodity. This insightful and arresting volume combines perspectives from anthropology, law, medicine, and sociology to offer compelling analyses of the concrete ways in which the body is made into a commodity and how its marketization in turn remakes social relations and cultural meanings. (shrink)

This article draws on a five-year, multi-sited transnational research project on the global traffic in human organs, tissues, and body parts from the living as well as from the dead as a misrecognized form of human sacrifice. Capitalist expansion and the spread of advanced medical and surgical techniques and developments in biotechnology have incited new tastes and traffic in the skin, bones, blood, organs, tissues, marrow and reproductive and genetic marginalized other. Examples drawn from recent ethnographic research in Israel, the (...) Palestinian Authority and Turkey serve to cast light on the dark side of organs harvesting and transplantation. The article focuses on the dangers of the `fetishized kidney' for both sellers and buyers, for whom this new commodity has become an organ of opportunity and an organ of last resort. The bodily sacrifice is disguised as a donation, rendered invisible by its anonymity, and hidden under the medical rhetoric of `life saving' and `gift giving'. It suggests that the ultimate fetish as recognized long ago by Ivan Illich is the idea of `life' as object of manipulation. (shrink)

Darwin hypothesized that some animals, when selecting sexual partners, possess a genuine “sense of beauty” that cannot be accounted for by the logic of natural selection. This hypothesis has been notoriously controversial. In this chapter I propose that the concept of agency can be useful to operationalize the “sense of beauty”, and can help identify the conditions under which one can infer that animals are acting as (aesthetic) agents. Focusing on a case study of the behavior of the Pavo cristatus, (...) I identify the types of evidence that would allow for the inference of agency through aesthetic choice. (shrink)

Basic concepts in Habermas's theory of communicative action -- Habermas's "reconstruction" of modern law -- Discourse theory and the theory and practice of adjudication -- System, lifeworld, and Habermas's "communication theory of society" -- After between facts and norms : religion in the public square, multiculturalism, and the "postnational constellation".

Hugh H. Benson explores Plato's answer to Clitophon's challenge, the question of how one can acquire the knowledge Socrates argues is essential to human flourishing-knowledge we all seem to lack. Plato suggests two methods by which this knowledge may be gained: the first is learning from those who already have the knowledge one seeks, and the second is discovering the knowledge one seeks on one's own. The book begins with a brief look at some of the Socratic dialogues where (...) Plato appears to recommend the former approach while simultaneously indicating various difficulties in pursuing it. The remainder of the book focuses on Plato's recommendation in some of his most important and central dialogues-the Meno, Phaedo, and Republic-for carrying out the second approach: de novo inquiry. The book turns first to the famous paradox concerning the possibility of such an inquiry and explores Plato's apparent solution. Having defended the possibility of de novo inquiry as a response to Clitophon's challenge, Plato explains the method or procedure by which such inquiry is to be carried out. The book defends the controversial thesis that the method of hypothesis, as described and practiced in the Meno, Phaedo, and Republic, is, when practiced correctly, Plato's recommended method of acquiring on one's own the essential knowledge we lack. The method of hypothesis when practiced correctly is, then, Platonic dialectic, and this is Plato's response to Clitophon's challenge. (shrink)

While the early Platonic dialogues have often been explored and appreciated for their ethical content, this is the first book devoted solely to the epistemology of Plato's early dialogues. Author Hugh H. Benson argues that the characteristic features of these dialogues- -Socrates' method of questions and answers, his fascination with definition, his professions of ignorance, and his thesis that virtue is knowledge- -are decidedly epistemological. In this thoughtful study, Benson uncovers the model of knowledge that underlies these distinctively Socratic (...) views. What emerges is unfamiliar, yet closer to a contemporary conception of scientific understanding than ordinary knowledge. (shrink)

This entirely new work guides the reader through the most basic systems of modal propositional logic up to systems of modal predicate with identity, dealing with both technical developments and discussing philosophical applications.

In these essays, Hugh J. McCann develops a unified perspective on human action. Written over a period of twenty-five years, the essays provide a comprehensive survey of the major topics in contemporary action theory. In four sections, the book addresses the ontology of action ; the foundations of action ; intention, will, and freedom; and practical rationality. McCann works out a compromise between competing perspectives on the individuation of action ; explores the foundations of action and defends a volitional (...) theory; argues for a libertarian view of both the formation and the execution of intention; and considers the question of consistency in rational intentions, as well as the relationship between practical and theoretical reasoning. -/- Among the original features of McCann's work are his defense of both fine- and coarse-grained actions and his arguments for a noncausal theory of the relation between intention and action. He also suggests that intentions need not be consistent, either with each other or with beliefs about success. And he contends that intention formation is an intrinsically ratiocinative procedure, distinct from reasoning about what action would be best. (shrink)

Exploring the role of values in scientific inquiry, Hugh Lacey examines the nature and meaning of values, and looks at challenges to the view, posed by postmodernists, feminists, radical ecologists, Third-World advocates and religious fundamentalists, that science is value free. He also focuses on discussions of 'development', especially in Third World countries. This paperback edition includes a new preface.

Codes of ethics currently offer no guidance to scientists acting in capacity of expert. Yet communicating their expertise is one of the most important activities of scientists. Here I argue that expert communication has a specifically ethical dimension, and that experts must face a fundamental trade-off between "actionability" and "transparency" when communicating. Some recommendations for expert communication are suggested.

In this paper I consider, in connection with dementia, two views of the person. One view of the person is derived from Locke and Parfit. This tends to regard the person solely in terms of psychological states and his/her connections. The second view of the person is derived from a variety of thinkers. I have called it the situated-embodied-agent view of the person. This view, I suggest, more readily squares with the reality of clinical experience. It regards the person as (...) embedded in a history and culture. The human person is also an embodied agent. I contend that this view encourages a more appropriate approach towards the ethical issues that arise in dementia and towards people with dementia. (shrink)

Asperó and Schindler have completely solved the Axiom [Formula: see text] vs. [Formula: see text] problem. They have proved that if [Formula: see text] holds then Axiom [Formula: see text] holds, with no additional assumptions. The key question now concerns the relationship between [Formula: see text] and Axiom [Formula: see text]. This is because the foundational issues raised by the problem of Axiom [Formula: see text] vs. [Formula: see text] arguably persist in the problem of Axiom [Formula: see text] vs. (...) [Formula: see text]. The first of our two main theorems is that Axiom [Formula: see text] is equivalent to Axiom [Formula: see text], and as a corollary we show that Axiom [Formula: see text] fails in all the known models of [Formula: see text]. This suggests that [Formula: see text] actually refutes Axiom [Formula: see text]. Our second main theorem is that the [Formula: see text] Conjecture holds assuming [Formula: see text]. This is the strongest partial result known on this conjecture which is one of the central open problems of [Formula: see text]-theory and [Formula: see text]-logic. These results identify a fundamental asymmetry between the Continuum Hypothesis and any axiom which is both [Formula: see text]-expressible and which implies [Formula: see text], on the basis of generic absoluteness for the simplest of the nontrivial sentences of Third-Order Number Theory. These are the [Formula: see text]-sentences with no parameters. Such sentences are those which simply assert the existence of a set [Formula: see text] for which some property involving only quantification over [Formula: see text] holds. (shrink)

Early food regimes literature tended to concentrate on the global scale analysis of implicitly negative trends in global food relations. In recent years, early food regimes authors like Harriet Friedmann and Philip McMichael have begun to consider the sites of resistance, difference and opportunity that have been emerging around, and into contestation with, new food regime relations. This paper examines the emerging global-scale governance mechanism of environmental food auditing—particularly those being promoted by supermarkets and other large food retailers—as an important (...) new dynamic in our understanding of the politics and potentials of food regimes. Commencing with an examination of Friedmann’s corporate environmental food regime, two key dynamics are identified as being pivotal in the rise and decline of global-scale regimes: securing social legitimacy for food relations and the importance of ecological dynamics in global food relations. By extending McMichael’s notion of ‘Food from Nowhere’ versus ‘Food from Somewhere’, the paper interrogates the emergence of a cluster of relations that comprise ‘Food from Somewhere’ and examines whether this cluster of relations has the potential to change some of the constituent ecological dynamics of food regimes. These ecological dynamics have historically been problematic, amply demonstrating Marx’s metabolic rift as the early food regimes solidified relationships between ‘ecologies at a distance’. By using socio-ecological resilience theory, ‘Food from Somewhere’ is characterized as having denser ecological feedbacks and a more complex information flow in comparison to the invisibility and distanciation characterizing earlier regimes as well as contemporary ‘Food from Nowhere’. The conclusion of this article is that while ‘Food from Somewhere’ does provide one site of opportunity for changing some key food relations and ecologies, the social legitimacy of this new form of food relations does rely on the ongoing existence of the opposite, more regressive, pole of world food relations. The key question for resolving this tension appears to be whether new food relations can open up spaces for future, more ecologically connected, global-scale food relations. (shrink)

This broad-ranging _Companion_ comprises original contributions from leading Platonic scholars and reflects the different ways in which they are dealing with Plato’s legacy. Covers an exceptionally broad range of subjects from diverse perspectives Contributions are devoted to topics, ranging from perception and knowledge to politics and cosmology Allows readers to see how a position advocated in one of Plato’s dialogues compares with positions advocated in others Permits readers to engage the debate concerning Plato’s philosophical development on particular topics Also includes (...) overviews of Plato’s life, works and philosophical method. (shrink)

Environmental heterogeneity is invoked as a key explanatory factor in the adaptive evolution of a surprisingly wide range of phenomena. This article aims to analyze this explanatory scheme of categorizing traits or properties as adaptations to environmental heterogeneity. First it is suggested that this scheme can be understood as a reaction to how heterogeneity adaptations were discounted or ignored in the modern synthesis. Then a positive account is proposed, distinguishing between two broad categories of adaptation to environmental heterogeneity: properties selected (...) for by well-defined patterns of environmental heterogeneity, and properties that help organisms exploit novel patterns of environmental heterogeneity. (shrink)

Background Professional communities such as the medical community are acutely concerned with negligence: the category of misconduct where a professional does not live up to the standards expected of a professional of similar qualifications. Since science is currently strengthening its structures of self-regulation in parallel to the professions, this raises the question to what extent the scientific community is concerned with negligence, and if not, whether it should be. By means of comparative analysis of medical and scientific codes of conduct, (...) we aim to highlight the role of negligence provisions in codes of conduct for scientists, and to discuss the normative consequences for future codes of conduct. -/- Methods We collected scientific and medical codes of conduct in a selection of OECD countries, and submitted each code of conduct to comparative textual analysis. -/- Results Negligence is invariably listed as an infraction of the norms of integrity in medical codes of conduct, but only rarely so in the scientific codes. When the latter list negligence, they typically do not provide any detail on the meaning of ‘negligence’. -/- Discussion Unlike codes of conduct for professionals, current codes of conduct for scientists are largely silent on the issue of negligence, or explicitly exclude negligence as a type of misconduct. In the few cases where negligence is stipulated to constitute misconduct, no responsibilities are identified that would help prevent negligence. While we caution against unreasonable negligence provisions as well as disproportionate sanctioning systems, we do argue that negligence provisions are crucial for justified trust in the scientific community, and hence that there is a very strong rationale for including negligence provisions in codes of conduct. (shrink)