This chapter contains section titled: Introduction: Baker on the Private Language Argument Strawson's and Malcolms Interpretations of the Beetle Story Pitcher's, Cook's, and Donagan's Interpretations of the Beetle Story Cohen's Repudiation of the Beetle Story Hacker's and Baker's Interpretations of the Beetle Story.

Fish, S. Georgics of the mind: Bacon's philosophy and the experience of his Essays.--Brett, R. L. Thomas Hobbes.--Watt, I. Realism and the novel.--Tuveson, E. Locke and Sterne.--Kampf, L. Gibbon and Hume.--Frye, N. Blake's case against Locke.--Abrams, M. H. Mechanical and organic psychologies of literary invention.--Ryle, G. Jane Austen and the moralists.--Schneewind, J. B. Moral problems and moral philosophy in the Victorian period.--Donagan, A. Victorian philosophical prose: J. S. Mill and F. H. Bradley.--Pitcher, G. Wittgenstein, nonsense, and Lewis Carroll.--Bolgan, A. C. (...) The philosophy of F. H. Bradley and the mind and art of T. S. Eliot: an introduction.--Davie, D. Yeats, Berkeley, and Romanticism.--Ross, M. L. The mythology of friendship: D. H. Lawrence, Bertrand Russell, and "The Blind man".--Rosenbaum, S. P. The philosophical realism of Virginia Woolf.--Bibliography (p. 357-360). (shrink)

Introduction : death, metaphysics, and morality / John Martin Fischer Death knocks / Woody Allen Rationality and the fear of death / Jeffrie G. Murphy Death / Thomas Nagel The Makropulos case : reflections on the tedium of immortality / Bernard Williams The evil of death / Harry S. Silverstein How to be dead and not care : a defense of Epicurus / Stephen E. Rosenbaum The dead / Palle Yourgrau The misfortunes of the dead / George Pitcher Harm to (...) others / Joel Feinberg Reasons and persons / Derek Parfit Why is death bad? / Anthony L. Brueckner and John Martin Fischer Death and the value of life / Jeff McMahan Annihilation / Steven Luper-Foy Epicurus and annihilation / Stephen E. Rosenbaum Some puzzles about the evil of death / Fred Feldman Well-being and time / J. David Velleman. (shrink)

According to Epicurus (1966a,b), neither death, nor anything that occurs later, can harm those who die, because people who die are not made to suffer as a result of either. In response, many philosophers (e.g., Nagel 1970, Feinberg 1984, and Pitcher 1984) have argued that Epicurus is wrong on both counts. They have defended the mortem thesis: death may harm those who die. They have also defended the post-mortem thesis: posthumous events may harm people who die. Their arguments for this (...) joint view are by now quite familiar, and there is no need to rehearse them here (for a summary, see Luper 2002). Instead, our topic is a third position, which carves out intermediate ground between the other two. The intermediate view takes the mortem thesis for granted, like the critics of Epicurus, but rejects the post-mortem thesis, like Epicurus himself. For Epicurus’ project—the attainment of ataraxia, or equanimity—the intermediate view is almost useless (we are not tranquil if we regard death as a tragedy whose peculiarity is that it frees us from the possibility of any further misfortune); however, it is far more plausible than Epicurus’ own position since it avoids his absurd claim that death cannot harm us, while retaining his view that events occurring while we are dead and gone cannot harm us. According to the proponent of the intermediate view, when we understand the harm death inflicts, we must reject the idea that events following death can be bad for us. The damage death itself does is so severe that people are not subject to harm by any subsequent events. Thus the intermediate view rests on the mortem thesis together with the immunity thesis: death leaves its victims immune from posthumous harm. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rhetoric of Parody in Plato's MenexenusFranco V. TrivignoIn Plato's Menexenus, Socrates spends nearly the entire dialogue reciting an epitaphios logos, or funeral oration, that he claims was taught to him by Aspasia, Pericles' mistress. Three difficulties confront the interpreter of this dialogue. First, commentators have puzzled over how to understand the intention of Socrates' funeral oration (see Clavaud 1980, 17–77).1 Some insist that it is parodic, performing an (...) essentially critical function (e.g., Loraux 1986); while others claim that it is serious, in particular as an expression of Plato's political ideal (e.g., Kahn 1963).2 Adherents on both sides seem to think that the options are mutually exclusive.3 Second, commentators have had difficulty understanding why Plato would have Socrates attribute his entire oration to Aspasia (e.g., Coventry 1989, 3; Pownall 2004, 60). Most agree that this move is ironic and that it has something to do with the alleged target of the dialogue's criticism. But scholars have differed over whether the Aspasia reference is meant to implicate Pericles' funeral oration (Monoson 1998), rhetoric in general (Pownall 2004), Athens (Loraux 1986), or even Aeschines (Clavaud 1980).4 Third, scholars have struggled to make sense of the dialogue's "deliberate and fantastic anachronism" (Dodds 1990, 24). In the funeral oration, Socrates relates the history of Athens up to the King's Peace in 386 B.C., a full thirteen years after he has died. This problem has generated the least consensus, with some scholars restricting their analysis [End Page 29] to dating considerations (e.g., Dodds 1990) and at least one speculating that Socrates speaks in this dialogue as a ghost (Rosenstock 1994).5It is the contention of this article that, by understanding the rhetoric of parody in the Menexenus, one can resolve these difficulties and come to a coherent and unified understanding of the philosophical intentions of the dialogue.6 More specifically, I will show that the anachronism is a consequence of a particular parodic strategy, that of amplification; that the dialogue's parody targets not only Pericles' funeral oration in particular but funeral oratory, rhetoric, and Athens as well; and that the parody has serious philosophical implications.7 Further, I claim that the serious philosophical content is both critical and constructive. Plato subverts the civic identity and understanding of virtue encouraged by the genre of funeral oration, and he challenges its praise-based model of political discourse. At the same time, Plato's parodic criticism is not entirely negative, for it relies on alternative paradigms of civic identity, virtue, and political discourse.I. The Rhetoric of ParodyBefore turning to the Menexenus itself, I want to clarify what I mean by parody. For a working definition, I suggest that parody is "an imitation that distorts a target text, author, or genre."8 In order to make some general observations about the rhetoric of parody, I will look briefly at an exemplar of parody from Aristophanes' Frogs. I do so for three reasons: to display two strategies of parodic distortion, to show that parody can have multiple targets, and to argue that parody can have both serious and complex intentions.9In the Frogs (1331–63), Aristophanes uses at least two techniques of parodic distortion, inversion and amplification, in his extended parody of Euripides' monodies or single-actor odes.10 Parodic inversion, broadly speaking, upsets or overturns the target text by distorting the original in a way that reverses the stylistic effect or semantic intention. Parodic amplification hones in on one aspect of the target text and amplifies it to absurdity, often exposing its artificiality as a literary trope.The parodic scene features a woman who awakens, hysterical and terrified, from a god-sent dream, which has conveyed disturbing news. We find in this passage a particular kind of parodic inversion: bathos, the unexpected introduction of the vulgar, ordinary, or mundane, which undermines an otherwise somber tone.11 Consider the following excerpt:Attendants, set alight a lamp for me,Collect the dew of rivers in pitchers [End Page 30] And heat the water,So that I may wash away the god-sent dream.Oh god of the sea... (shrink)

This paper examines pain states (and other intransitive bodily sensations) from the perspective of the problems they pose for pure informational/representational approaches to naturalizing qualia. I start with a comprehensive critical and quasi-historical discussion of so-called Perceptual Theories of Pain (e.g., Armstrong, Pitcher), as these were the natural predecessors of the more modern direct realist views. I describe the theoretical backdrop (indirect realism, sense-data theories) against which the perceptual theories were developed. The conclusion drawn is that pure representationalism about pain (...) in the tradition of direct realist perceptual theories (e.g., Dretske, Tye) leaves out something crucial about the phenomenology of pain experiences, namely, their affective character. I touch upon the role that introspection plays in such representationalist views, and indicate how it contributes to the source of their trouble vis-à-vis bodily sensations. The paper ends by briefly commenting on the relation between the affective/evaluative component of pain and the hedonic valence of emotions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Logic Pamphlets of Charles Lutwidge Dodgson and Related PiecesIrving H. AnellisFrancine F. Abeles, editor. The Logic Pamphlets of Charles Lutwidge Dodgson and Related Pieces. The Pamphlets of Lewis Carroll, 4. New York-Charlottesville-London: Lewis Carroll Society of North America-University Press of Virginia, 2010. Pp. xx + 271. Cloth, $75.00.Until William Bartley’s rediscovery and reconstruction of Dodgson’s lost Part II of Symbolic Logic, Lewis Carroll’s reputation in logic, when (...) taken seriously, rested upon his few published articles on logical paradoxes and puzzles, while his published books, The Game of Logic and Symbolic Logic, were regarded as suitable perhaps as pedagogical tools, but dismissed otherwise as amusements, on a par with the Alice works. Richard Braithwaite asserted (“Lewis Carroll as Logician”) that “Carroll regarded formal and symbolic logic not as a corpus of systematic knowledge about valid thought nor yet as an art for teaching a person to think correctly.” He suggested that Dodgson used his pseudonym for his popular and whimsical writings, reserving his legal name only for his serious mathematical products. Philosophers practicing linguistic analysis in their assault on nonsense deriving from misuse of language meanwhile developed an interest in Carroll (e.g. George Pitcher, “Wittgenstein, Nonsense, and Lewis Carroll”). Abeles, on the contrary, stresses the seriousness of Dodgson’s pedagogical and popularizing mission (195–99).Bartley’s discovery opened the door for reevaluating Dodgson as a serious logician, and Abeles has been in the forefront of that reevaluation. Her general introduction and introductions to the main divisions of this collection of Carroll’s publications (and additional material from his Nachlass and a handful of publications of others, composed in response to Carroll’s published articles) place his serious logical work and its significance in historical perspective, providing a deeper, more sophisticated view than found in Bartley’s “Editor’s Introduction” to Lewis Carroll’s Symbolic Logic. Abeles also offers brief introductions to the individual entries, which describe their physical characteristics and circumstances of composition.Dodgson aligned with the majority of those British logicians of his day, starting with George Boole, who understood formal logic to be Aristotelian syllogistic, and symbolic logic to be syllogistic logic expressed algebraically. His notational innovation was employing indices to terms so that, independently of the arrangement of terms, propositions could easily be read; thus, “xy0” can be read as “no x are y” or “no y are x” and “x1y0” as “all x are not y” or “no x are y”. In dealing with the classical elimination problem in the class calculus—to determine the maximum information, without duplications, obtainable from a given set of premises—Dodgson in his later work and unpublished letters anticipated several concepts of automated theorem proving.Central to both geometry and to formal logic are the rules of logical inference that establish the validity of arguments and guarantee that conclusions inferred from true [End Page 506] premises are true. The modern analytic tableaux, or tree method, is a fundamental tool in this regard, both for deriving theorems and for determining the validity or invalidity of the proofs for propositional calculus and first-order predicate calculus.Introducing his reconstruction of Part II of Symbolic Logic, Bartley noted that, along with the logic diagrams that Carroll devised, he also devised a tableau method that strongly resembled Beth’s semantic tableaux. Abeles went more deeply and convincingly into that resemblance in her earlier research. Beth’s tableaux, together with Hintikka’s model sets, were the direct ancestors of Smullyan’s analytic tableaux, which in turn are the theoretical basis for the Robinson resolution method that continues to be central to much work in programming logic.Abeles has also shown that the work in Studies in Logic by Charles Peirce and his logic students at Johns Hopkins University served as a source of inspiration for Dodgson. More critically, she demonstrated that Dodgson devised and employed the tree method for carrying out proofs of syllogisms and chains of syllogisms, or soriteses, in Part II of Symbolic Logic (see her “Lewis Carroll’s Method of Trees: Its Origins in Studies in Logic,” Modern Logic 1 [1990]: 25–34). The tree... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 80-97 [Access article in PDF] Literary Truth as Dreamlike Expression in Foucault's and Borges's "Chinese Encyclopedia" Robert Wicks ALTHOUGH THE TOPIC REMAINS MOSTLY unexplored, Michel Foucault had an aesthetic and intellectual attraction towards writers and artists in the Spanish-speaking tradition. For example, at the conclusion of his Histoire de la folie (Madness and Civilization, 1961)—a book which brought him extensive intellectual recognition in France—Foucault (...) drew his readers' attention to José de Goya y Lucientes's (1746-1828) well-known etching, El Sueño de la Razón Produce Monstruos (The Sleep of Reason Brings Forth Monsters, Plate 43 of Los Caprichos, 1797). In Foucault's estimation, by revealing a "night which is doubtless that of classical unreason," Goya's work represented a socially removed condition within which people encounter "what is most solitary" and experience what is "deepest" within themselves. With his reference to Goya's imagery, Foucault illustrated a major theme of his history of madness, namely, how people referred to as "mentally ill" experienced a gradual, physical exclusion from participation in public society, and how they were eventually isolated in a more frightening way: within their physical confinement, they were subject to techniques of psychological and spiritual alienation that reduced them to a condition of utter solitude.In a comparable, if not more central manner, Foucault used as thematic motifs for the preface, first and second chapters of a book for which he is widely known, Les Mots et les choses (The Order of Things, 1966), the work of three major writers and artists from the Spanish-speaking world: Jorges Luis Borges (1899-1986), Diego Velázquez (1599-1660), and Miguel de Cervantes (1547-1616). Among these references, the most popular is probably Foucault's discussion of [End Page 80] Velázquez's Las Meninas—a painting which captured Foucault's interest as a perfect exemplar of its time period—and which inspired him to devote the entire first chapter of his book to decoding the mechanics of its perspectival arrangement. And within the community of those who read, write and discuss the interrelationship between Foucault's thought, literary theory and the contemporary emphasis upon the multivocal quality of textual meaning, Foucault's citation of an excerpt from a short story by Borges—the subject of this essay—is also familiar. Foucault introduced his 1966 book, The Order of Things, with the following words: This book first arose out of a passage in Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought—our thought, the thought that bears the stamp of our age and our geography—breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a "certain Chinese encyclopedia" in which it is written that "animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) suckling pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies." In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that. 1The short story from which Foucault extracted the above, quasi-cubistic, excerpt was published in Borges's 1952 collection, Otras Inquisiciones (Other Inquisitions), and is entitled, "The Analytical Language of John Wilkins." Although this story's entirety is rarely surveyed in discussions of Foucault, appreciating its broader contents helps illuminate why Foucault began The Order of Things with this entertaining and bizarre segment. Borges's original... (shrink)

A collection of eight essays, this book is not intended as a comprehensive anthology like K. T. Fann’s Symposium on Austin. G. J. Warnock’s foreword indicates an attempt to rectify the apparent misunderstandings of Austin and his intentions. With the exception of the essays by D. F. Pears and John R. Searle, all are written especially for the volume. Three of the works, those by Sir Isaiah Berlin, George Pitcher, and G. J. Warnock, present an informative account of Austin’s activities (...) at Oxford. Professor Berlin’s "Austin and the Early Beginning of Oxford Philosophy" offers a valuable personal account of Austin’s early years as "a very clear, acute, and original intellect." In the "Thursday meetings", Austin’s main purpose seemed to Berlin "then, and afterwards, to be the establishing of particular truths with a view to generalizing from them, or eliciting principles at a later stage." Pitcher’s "Austin: A Personal Memoir" gives an account of Austin’s stay and influence at Harvard in 1955. Warnock’s "Saturday Mornings" recollects Austin’s activities in the 1950’s. (shrink)

Response to commentaries on keynote article.

Whether treatment decision-making capacity can be meaningfully applied to patients with a diagnosis of “personality disorder” is examined. Patients presenting to a psychiatric emergency clinic with threats of self-harm are considered, two having been assessed and reviewed in detail. It was found that capacity can be meaningfully assessed in such patients, although the process is more complex than in patients with diagnoses of a more conventional kind. The process of assessing capacity in such patients is very time-consuming and may become, (...) in itself, a therapeutic intervention. (shrink)

Critics of Hannah Arendt's Lectures on Kant's Political Philosophy argue that Arendt fails to address the most important problem of political judgment, namely, validity. This essay shows that Arendt does indeed have an answer to the problem that preoccupies her critics, with one important caveat: she does not think that validity is the all-important problem of political judgment--the affirmation of human freedom is.

This essay examines the significantly different approaches of John Rawls and Hannah Arendt to the problem of judgment in democratic theory and practice.