An extraordinary history of humanity's changing vision of the universe. In this masterly synthesis, Arthur Koestler cuts through the sterile distinction between 'sciences' and 'humanities' to bring to life the whole history of cosmology from the Babylonians to Newton. He shows how the tragic split between science and religion arose and how, in particular, the modern world-view replaced the medieval world-view in the scientific revolution of the seventeenth century. He also provides vivid and judicious pen-portraits of a string of (...) great scientists and makes clear the role that political bias and unconscious prejudice played in their creativity. (shrink)

There is an obscure passage in a letter from Keats to Benjamin Bailey, written in 1817, which says: I am certain of nothing but of the holiness of the Heart's affections and the truth of Imagination...This does not seem to make much sense. Nor does it help much to find an echo of that passage in the famous last lines of the Ode on a Grecian Urn, written two years later: Beauty is truth, truth beauty — that is all Ye (...) know on earth, and all ye need to know. (shrink)

Reviewing his life's work in several areas, Koestler shows that the development of human intelligence mirrors the hierarchical order of the universe, examines links between creativity and humor, science, and art, and criticizes the behaviorist theory of cultural evolution.

In The Sleepwalkers and The Act of Creation Arthur Koestler provided pioneering studies of scientific discovery and artistic inspiration, the twin pinnacles of human achievement. The Ghost in the Machine looks at the dark side of the coin: our terrible urge to self-destruction... Could the human species be a gigantic evolutionary mistake? To answer that startling question Koestler examines how experts on evolution and psychology all too often write about people with an 'antiquated slot-machine model based on the (...) naively mechanistic world-view of the nineteenth century. His brilliant polemic helped to instigate a major revolution in the life sciences, yet its 'glimpses of an alternative world-view' form only the background to an even more challenging analysis of the human predicament. Perhaps, he suggests, we are a species in which ancient and recent brain structures - or reason and emotion - are not fully co-ordinated. Such in-built deficiencies may explain the paranoia, violence and insanity that are central strands of human history. And however disturbing we find such issues, Koestler contends, it is only when we face our limitations head-on that we can hope to find a remedy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Against Ethical CriticismRichard A. PosnerOscar Wilde famously remarked that “there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” He was echoed by Auden, who said in his poem in memory of William Butler Yeats that poetry makes nothing happen (though the poem as a whole qualifies this overstatement), by Croce, and by formalist critics such as (...) Cleanth Brooks, a doyen of the New Critics, who insisted that edification was the function of religion but not of poetry. 1 George Orwell, though himself a didactic novelist, was of this view as well, 2 and it is one that most critics adopt when the issue is censorship. I accept Wilde’s thesis—the creed of aestheticism, of art for art’s sake—if understood to mean that the moral content and consequences of a work of literature are irrelevant to its value as literature; or as the critic Helen Vendler has put it, that “treating fictions as moral pep-pills or moral emetics is repugnant to anyone who realizes the complex psychological and moral motives of a work of art.” 3 This is not to deny that reading can have consequences, including moral and political ones. Information affects people’s outlook and behavior, and reading is a source of information. Imaginative literature conveys ideas, opinions, and information, often with great power. Think of the role that novels by Turgenev (Fathers and Sons), Dostoevsky (The Possessed), Conrad (The Secret Agent, Under Western Eyes), Koestler (Darkness at Noon), Orwell (Animal Farm, Nineteen Eighty-Four), and, of course, Solzhenitsyn played in exposing the horrors of anarchism and communism. Of A Passage to India it has been said that “as an account of the social conditions of British India it was powerful enough to have influenced events.” 4 Upton Sinclair’s novel The Jungle is thought to have incited federal regulation of food processing; and few doubt the effect of Uncle Tom’s Cabin (1852) on the abolitionist cause. [End Page 1]At the core of the aesthetic tradition, which I shall be defending in this essay particularly against its opponents in the “law and literature” movement, are three theses. First, immersion in literature does not make us better citizens or better people. One might be able to pick out some works of literature that would have such an effect because of the information they convey or the emotional state they induce, but they would constitute a skewed sample of literary works. Second, we should not be put off by morally offensive views encountered in literature even when the author appears to share them. A work of literature is not to be considered maimed or even marred by expressing unacceptable moral views; by the same token, a mediocre work of literature is not redeemed by expressing moral views of which we approve. The proper criteria for evaluating literature are aesthetic rather than ethical. Third, authors’ moral qualities or opinions should not affect our valuations of their works.The insistence, in short, is on the separation of the moral from the aesthetic—but with two qualifications. Some literature has little interest or value apart from the didactic and for it the proper criticism is didactic. And the separation of moral from aesthetic values is not a rejection of the former. The aesthetic outlook is a moral outlook, one that stresses the values of openness, detachment, hedonism, curiosity, tolerance, the cultivation of the self, and the preservation of a private sphere—in short, the values of liberal individualism.The counter tradition in literary criticism to the aesthetic originates with Plato and insists upon the importance, in some versions to the near or even total exclusion of anything else, of the ethical or political content and effects of works of literature, and less commonly of the author’s own morality. Martha Nussbaum, for example, deems Greek tragedies and Anglo-American realistic novels a part of moral philosophy. 5 Reading novels, she argues, “develops moral capacities without which citizens will not succeed in making reality out of the normative conclusions of any moral or political theory, however excellent.” 6 Wayne Booth, disagreeing with his illustrious... (shrink)

Preface and Acknowledgments Introduction. The Galileo Affair from Descartes to John Paul II: A Survey of Sources, Facts, and Issues 1. The Condemnation of Galileo 2. Promulgation and Diffusion of the News 3. Emblematic Reactions: Descartes, Peiresc, Galileo’s Daughter 4. Polarizations: Secularism, Liberalism, Fundamentalism 5. Compromises: Viviani, Auzout, Leibniz 6. Myth-making or Enlightenment? Pascal, Voltaire, the Encyclopedia 7. Incompetence or Enlightenment? Pope Benedict XIV 8. New Lies, Documents, Myths, Apologies 9. Napoleonic Wars and Trials 10. The Inquisition on Galileo’s Side? (...) The Settele Affair and Beyond 11. Varieties of Torture: Demythologizing Galileo’s Trial? 12. A Miscarriage of Justice? The Documentation of Impropriety 13. Galileo Right Again, Wrong Again: Hermeneutics, Epistemology, "Heresy" 14. A Catholic Hero: Tricentennial Rehabilitation 15. Secular Indictments: Brecht’s Atomic Bomb and Koestler’s Two Cultures 16. History on Trial: The Paschini Affair 17. More "Rehabilitation": Pope John Paul II Epilogue: Unfinished Business. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:13o JOURNAL OF THE HISTORY OF PHILOSOPHY 28:1 JANUARY 1990 ceived scope of philosophy in the Renaissance, in comparison with the Middle Ages and early modern periods. Most impressive of all, aside from the extremely high quality of all its parts, is this volume's fidelity to its subject and the placement of that subject in an accurate historical context. For that we have to thank each contributor, and, most (...) of all, the vision of Charles Schmitt. In addition to setdng a new standard for a reference work of this type, The CambridgeHistory of ReniassancePhilosophymay well prove to be his most enduring legacy. MARCIA L. COLISn Oberlin College Pietro Redondi. GalileoHeretic. Translated by Raymond Rosenthal. Princeton: Princeton University Press, 1987. Pp. x + 356. $29.95. The trial of Galileo by the Inquisition in 1633 is a classic episode that invites continual reinterpretation and reevaluation for all sorts of reasons. Karl yon Gebler's Galileoand the Roman Curia (1879) was partly a response to the availability of new documents; Giorgio de Santillana's Crime of Galileo (1955) was partly meant to shed light on the phenomenon of McCarthyism; Arthur Koestler's Sleepwalkers (1959) was partly intended to come to terms with the crisis of secularism; Jerome Langford's Galileo, Science, and the Church (1966) was partly an updating of the apologetic interpretation; Stillman Drake's Galileo(198o) was partly a personal synthesis of his and others' recent contributions to scholarship. Such reappraisals perform a valuable function, and so one welcomes this translation of a 1983 Italian book, for it advances a radically new interpretation. Redondi was motivated by his accidental discovery of a document in the Roman Archiv.es of the Congregation for the Doctrine of the Faith--the current name of the Inquisition. The document is an anonymous complaint about Galileo's Assayer(1623). The complaint is that this book advances an atomic theory of matter, that this theory conflicts with the Catholic doctrine of the Eucharist, and that therefore the book is heretical. The specific element of atomism that worries the writer is the distinction between primary and secondary qualities, including the thesis that secondary qualities do not really exist in the object but only in the subject. The doctrine of the Eucharist asserts that the consecration of bread and wine (which occurs during mass) involves the miracle of transubstantiation: the bread and wine retain all their accidental qualities, but their substance changes into the body and blood of Jesus Christ. The conflict is that atomism would make transubstantiation impossible, for all accidental qualities of bread and wine are sensory manifestations of their atoms. Thus, if the qualities do not change, neither do the atoms. But if the atoms do not change, neither does the substance. This complaint is anonymous only in the sense that the document lacks a signature, and there is no other way for us to know the identity of the author. But the complaint is written in the form of a letter to an authoritative churchman, and the author asks the addressee to let him know whether his accusation is correct and what action should be taken about the matter. Thus, it is obvious that the plaintiff was known to the addressee. BOOK REVIEWS 131 Normally such a discovery would lead one to search the archives in question to learn from other documents as much relevant information as possible: not only the identity of the letter's author and addressee, but its date, its repercussions, and so on. But the Roman Archives of the Inquisition are, understandably, not generally open to scholars. Redondi himself had been granted a rare privilege by being allowed to consult some specific manuscripts in connection with his project which, though related, did not involve Galileo's trial as such. Therefore, in the excitement of his discovery, Redondi did the next best thing he could do. He was led to the following. According to Redondi, the complaint's author was Orazio Grassi, a Jesuit with whom Galileo had a bitter dispute about comets, which occasioned The Assayer, among other works. The complaint was written in 1624 or a6~5, at which time no action was taken by the Inquisition, partly... (shrink)

For my son NathanielRecent studies suggest that Philip Roth's creative impulse is in some measure indebted to Arthur Koestler's Insight and Outlook and to Jean-Paul Sartre's Being and Nothingness.1 Koestler advances a theory of "bisociative" thinking—that is, the perception of consonance amidst the clash of seemingly dissonant planes of knowledge. The theme finds expression in the very title of Koestler's book, given the compatibility, despite opposite root prepositions, of such words as "in sight" and "out look." Insofar (...) as Roth's narrator Nathan Zuckerman mentions "Koestler" in The Anatomy Lesson, Zuckerman's otherwise obscure lament (because of writer's block and neck... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Approaching Infinity:Dignity in Arthur Koestler's Darkness at NoonRoger BerkowitzIn his allegorical novel Darkness at Noon, Arthur Koestler tells of Rubashov, a founding father of an unnamed Party in an unnamed state.1 Jailed by the current Party leader, "Number One," and pressed to recant his deviationist views, Rubashov resists. At first, he resolves to go to his death to preserve his integrity. Later, Rubashov recognizes that to hold (...) to his own truth when it endangers the goals of political reform is politically irresponsible. He decides to recant.The aristocratic soldier in the neighboring cell is appalled by Rubashov's self-betrayal. "Honour," the aristocrat insists, "is to live and die for one's belief." Rubashov disagrees with the aristocratic idea of honor and responds that honour is "to be useful without vanity," which provokes his neighbor to erupt: "honour is decency—not usefulness." Rubashov answers: "We have replaced decency by reason" (Koestler, pp. 177–78).Today, we rationalist readers of Darkness at Noon are left with the question of the competing demands of usefulness and decency, of reason and dignity. Reason makes its arguments in familiar terms: to prevent a genocide, we will bomb the aggressors; in the name of rationalized health care, some will not get the care they need; for reasons of state, some will be tortured. In politics, as Max Weber teaches, rational ends demand a slow, powerful boring through of hard boards (Weber, p. 93).2 Thus reason—and Koestler unfolds reason as calculating rationality in its most Machiavellian garb—requires the willingness to employ sober and rational means to achieve desired ends. In common parlance, the end justifies the means. Against the nostalgia for a politics of decency [End Page 296] and dignity, reason counsels that to make an omelet, you need to break a few eggs.But what lies behind the opposing claim to decency? What is it that pulls us to resist the claim of reason when reason counsels war, torture, or even bureaucratic neutrality? What, to paraphrase Hannah Arendt, is to be said for the eggs? (Arendt, pp. 270–84).3We may invoke conscience, duty, and decency. We might invoke civil and human rights. We condemn realpolitik and affirm a Judeo-Christian world order. In short, we invoke the dignity of man and affirm one's humanity as an inalienable core that cannot be breached. The limitations of such invocations are by now clear. At a time of recurrent genocides, democratically sanctioned torture, and suicide bombings of civilians, the stirring claims of the dignity of mankind ring hollow. Yet the collapse of the Western tradition of dignity does not necessitate the loss of dignity itself. The failure to secure dignity on religious or rationalist grounds need not send us fleeing, our eyes covered in horror and our heads between our legs. What is needed is a confrontation with our situation, one that seeks to comprehend both the impulse to affirm an inviolable core to humanity and our failure to do so.The ambition of Darkness at Noon lies in its bald effort to affirm the truth of human decency even as it recognizes that man's humanity is a bald-faced fiction. When Rubashov teeters on the precipice between reason and decency, his "eye" tooth aches. He rubs his eyeglasses. He steps only on whole squares in the floor, avoiding the cracks. Tooth, glass, and wholeness refer to the problem of the singular "I," an entity so mysterious that Rubashov follows Nietzsche in naming it the "grammatical fiction." What is the "I," the conscience, the self? How is it that the fictional "I" can and must have such an essential role in modern politics? Where, if anywhere, lies the relevance of the "I" for politics?Darkness at Noon is acclaimed as one of the most important books of the twentieth century—it is number eight on the Modern Library's list of the Hundred Best Novels of the twentieth century. Yet, given its enormous impact, its philosophical ruminations, and its political theme, the novel has garnered surprisingly little academic consideration. It is worth asking, therefore, why Darkness at Noon has not been taken seriously by the academic... (shrink)

The author examines recent developments in parapsychological research and explains their implications for physicists.

The book presents the most relevant theories of truth (correspondence, semantic, deflational, pragmaticist, coherentist, constructivist, evidential), with the emphasis of analytical approaches. The author develops a version of the realist correspondence concept of truth while distinguishing various criteria of truth. He is skeptical in regard of any, complete or certain truth but he does not accept epistemic skepticism either, but argues for a moderate realism where objective orientation towards truth suffices as catching (ever) more truth than falsity.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 224-238 [Access article in PDF] Bookmarks A Hanging Judge Denis Dutton "CORNERING THE MARKET ON CHUTZPAH," blared the headline on one review, and in tone it wasn't alone. It's not often that a book by a public intellectual has received as much media attention—mostly vilification and scorn—as Richard A. Posner's Public Intellectuals: A Study of Decline (Harvard University Press, $29.95). Three reasons for this (...) stand out. First, there's the sheer audacity of including a list of the top hundred public intellectuals, drawn from a larger list of 546 names. This invites endless dispute over how the list was generated, who is on it, who is left off, where each one stands, and why. Second, there is the fact that Posner has managed in the book to offend half of the public intellectuals you'd expect to be called on to review it—almost as though he made a list of potential reviewers and worked in a swipe at each. Finally, he has tapped into the deep antipathy humanist intellectuals have to seeing a beloved topic treated quantitatively, with statistics and applications of social and economic theory, replete with graphs and algebraic formulae. And after all, what topic is more beloved by the intellectuals than they themselves? That Posner would actually treat such important people as a demographic type, sorting them in terms of race, age, field, politics, sex—why, he even asks why so many are Jews. It's outrageous... and delicious.Definitions first. The idea of an intellectual, Posner says, should not be identified merely with having highbrow, cultivated tastes, being especially creative, or having high intelligence. All of these things are possible without being an intellectual, which Posner thinks ought to denote the application of the mind to "political matters in the broadest sense of that word, a sense that includes cultural matters when they are [End Page 224] viewed under the aspect of ideology, ethics, or politics (which may all be the same thing)." There is therefore a vague redundancy in the term "public intellectual," since the placing of ideas in a larger public context, acting as social critic, is what the intellectual most essentially does. In our age of vast communication media, it is also done con-spicuously in public, through op-eds, public radio interviews, and on TV clips with the regulation public-intellectual bookcase as a backdrop. This concern with larger moral issues means that for Posner paradigm individuals would therefore include the likes of John Dewey, Bertrand Russell, Hannah Arendt, Arthur Koestler, Edmund Wilson, Susan Sontag, and most powerfully in Posner's mind, George Orwell: people who write about literature, art, science, and so forth from a broadly political or ideological perspective. For example, when Allan Bloom writes about rock and roll, he is not doing so as a music critic but as a philosopher who sees it as a symptom and source of social degradation. That's echte public intellectual work (and rather bad work in this particular case, Posner believes). That it is done for a broader public is also a crux for Posner, who leaves omits John Rawls from his list, because as influential as Rawls is as a philosopher, he does not address a larger public in the way that Richard Rorty and Martha Nussbaum do.The decline referred to in Posner's title is a decline in the actual worth of public intellectuals' work, not in their media celebrity, which has grown roughly inversely to the value of what they do. This invidious situation has followed, in Posner's view, the proliferation of academics in the ranks of public intellectuals. From the nineteenth century, with such names as Thoreau, J. S. Mill, Herbert Spencer, Matthew Arnold, and Tocqueville, to well into the twentieth, with the likes of Max Eastman, Edmund Wilson, H. G. Wells, and Dwight Macdonald, the great tradition of public intellectuals had its life outside of universities. Although there remain nonacademic public intellectuals today—Susan Sontag, Roger Kimball, Tom Wolfe, Gore Vidal—they are a severely diminished species. Universities, which have expanded... (shrink)

Comment devient-on philosophe? Par quel sursaut un Aristoclès se fait-il Platon, jusqu'à s'imposer dans la liste des " auteurs philo " Il faut enquêter, non pas sur la vie privée, mais sur la vie intime : rumination intellectuelle, ton sur lequel on parle, motivations amoureuses... Ce qui fait un philosophe, c'est un immense travail sur soi, et la rencontre d'autres philosophes, vivants, de leurs problématiques. Mémoire sémantique + obsession métaphysique, voilà le code génétique du philosophe. Il débute par un attentat (...) religieux, puisqu'il commence sa carrière en niant tel ou tel sacré. Bien sûr, il vaut mieux être mâle, communiquer par les livres adopter la langue dominante, écrire quand on est célibataire. Comment gagner sa vie? Pas forcément en étant enseignant, comme c'est le cas aujourd'hui. Le profil du philosophe nous le révèle orphelin, vivant à l'étranger, souvent laid, jamais fou, et serial thinker, prêt à changer de philosophie pourvu qu'il reste, lui, à menacer le monde donnera ou donnera pas du sens à notre vie? Le philosophe est l'être inquiet qui pense inquiéter l'Être par deux trois mots bien aiguisés. (shrink)

While there are numerous doubts, controversies and lack of consensus on alternative definitions of human death, it is argued that it is more ethical to allow people to choose either cessation of cardio-respiratory function or loss of entire brain function as the definition of death based on their own views. This paper presents the law of organ transplantation in Japan, which allows people to decide whether brain death can be used to determine their death in agreement with their family. Arguably, (...) Japan could become a unique example of individual choice in the definition of death if the law is revised to allow individuals choose definition of death independently of their family. It suggests that such an approach is one of the reasonable policy options a country can adopt for legislation on issues related to the definition of death. (shrink)