The House We Live In explores the commonalities underlying three classical approaches to virtue ethics-Aristotelean, Buddhist, and Confucian-to develop a flourishing-based ethics capable of addressing the problems of liberal democracies. This book will appeal to scholars and to general readers.

To the extent that Mircea Eliade is concerned with millenarianism he is concerned with it as only an instance of religious phenomena generally and is concerned with its meaning rather than its cause. Yet presupposed in the meaning he finds is a theory of its cause, and that theory is worth examining both because it elucidates Eliade's approach to religion as a whole and because as an explanation of millenarianism it is atypical and even unique.

It has been claimed that modern long-standing scientific theories are fertile, in the sense of having been progressively successfully modified to meet new experimental observations or theoretical developments in related areas, and that these modifications arise naturally from each preceding version of the theory. McMullin has advanced this form of fertility as a vindication of scientific realism, since if the theories did not approximate the real, the observation would be inexplicable. In response Nolan has denied the existence of fertility in (...) this sense as an independent virtue. The present paper argues that the rebuttal is flawed. Introduction McMullin's P-fertility Fertility Explained Away as Novel Prediction Conclusion CiteULike Connotea Del.icio.us What's this? (shrink)

Scholars in religious studies, or “religionists,” often mischaracterize the social‐scientific study of religion. They assume that a social‐scientific analysis of the origin, function, meaning, or truth of religion either opposes or disregards the believer's analysis, which religionists profess to present and defend. I do not argue that the social sciences analyze religion from the believer's point of view. I argue instead that a social scientific analysis is more akin and germane to the believer's point of view than religionists assume. I (...) single out seven mischaracterizations of the social sciences typically held by religionists. (shrink)

In addition to empirical adequacy and compatibility with other current theories, scientific theories are commonly judged on three criteria â simplicity, elegance, and fertility. Fertility has received comparatively little attention in the philosophical literature. A definition of a certain sort of fertility, called P-fertility, proposed by Ernan McMullin, is that it consists in the capacity of a theory to be successfully modified over time to explain new experimental data or theoretical insights. McMullin made the major claim that he has a (...) novel and perhaps the sole argument for Scientific Realism. His argument involves two strands (i) theories must be considered diachronically and it is an historical fact that long standing successful scientific theories are P-fertile, and (ii) the correct explanation of this fact is that these theories reflect the realities of a mind-independent world. A rebuttal of McMullinâs position given in the literature is considered and rejected. His argument therefore requires further consideration. The plausible first strand of McMullinâs argument is accepted for the purposes of discussion, and thus the observation requires explanation, either along McMullinâs own lines or otherwise. The concept of diachronicity and the implications of accepting a diachronic view of scientific theories are considered. The identity of theory across time can be understood both from a Realist and an Anti-realist perspective via the concept of significant claims in the successive versions of the long standing successful theories. This defuses a possible objection to McMullinâs argument, namely that by assuming diachronicity he begs the question against the Anti-realist. Explanations of the conjunction of success and P-fertility are examined from the perspective of Scientific Realism and the major current Anti-realist stances â Entity Realism, Structural Realism, Instrumentalism, and Internal Realism. 3 To justify the second strand of McMullinâs argument, a notion of the approximate truth or of the verisimilitude of theories is required. Inter alia it is argued that a distinction must be made between the approximate truth of a scientific theory and that of a simple assertion or a simple narrative. The concepts of the approximate truth of scientific theories and their verisimilitude are explored and some serious difficulties are identified. First, it is difficult to accommodate differences in respect as well as in degree in delineating the nature of an approximately true theory. Second, it is difficult to give a satisfactory account of the metric used to assess the verisimilitude of theories. It is argued that in any case no version of these concepts can adequately support the second strand of McMullinâs thesis. This is because, at best, approximate truth and verisimilitude can only support a pragmatic claim â the improved empirical adequacy of successive versions of the long standing theory. In contrast, McMullinâs thesis requires that successor versions generally are better theories. Third, there is an intractable theory dependent weighting problem posed by the open ended nature of scientific theories in contrast with the closed narratives describing idealized models. The role of the approximate truth of scientific theories is explored, within the frameworks of Realism and Anti-realism, with regard to the possible responses to the existence of two highly successful, well corroborated, but incompatible theories â general relativity and quantum mechanics. It is suggested that Scientific Realism itself, not only McMullinâs argument for Scientific Realism, requires the notion of approximate truth or verisimilitude of theories. Putnamâs Internal Realism is considered, and, if as I suggest, no adequate account of the concepts of the approximate truth or verisimilitude of scientific theories can be given, Internal Realism (which need not draw on these concepts because of its denial that there is a unique correct description of the world) is more plausible than the full blooded Scientific Realism advocated by McMullin, despite granting the claim of the historical observation of the conjunction between long standing successful theories and their P-fertility. (shrink)

The 'Vocabulary for the study of religion' is an interdisciplinary endeavor that offers a unique overview of critical terms in the study of religion. This is the first dictionary in English to cover such a broad spectrum of theoretical topics used in the academic study of religion, including those from adjacent disciplines such as sociology, anthropology, historiography, theology, philology, literary studies, psychology, philosophy, cultural studies, and political sciences. The Vocabulary contains over 400 entries written by experts with a background in (...) a variety of disciplines. (shrink)

. On the one hand Jungian John Sanford criticizes Carl Jung for underestimating the importance granted evil by at least some strains of Christianity. On the other hand Sanford follows Jung in assuming that psychology is entitled to criticize Christianity whenever it fails to grant evil its due. Like Jung, Sanford contends that he is faulting Christianity on only psychological grounds: for failing to cope with evil in man–the shadow archetype. In fact, Sanford, like perhaps Jung as well, is also (...) criticizing Christianity on metaphysical grounds: for failing to acknowledge not just psychological but also ontological evil. Whether Sanford is thereby using psychology to assess Christian metaphysics is the issue. (shrink)

Like Clifford Geertz and Mary Douglas, Victor Turner considers religion the key to culture and ritual the key to religion. Like them as well, he interprets religion the way believers purportedly do: as beliefs, as beliefs about the cosmos, yet as cosmic beliefs compatible with modern science. Ritual serves to express those cosmic beliefs–not for the scientific purpose of explaining or controlling the cosmos but for the existential purpose of giving human beings a place in it. Ritual serves simultaneously to (...) express beliefs about society–not only for the functionalist purpose of keeping human beings in their social place but also for the existential purpose of giving them a social place. (shrink)

The history of the modern study of myth can be divided into two main categories: that which sees myth as the primitive counterpart to natural science, itself considered overwhelmingly modern, and that which sees myth as almost anything but the primitive counterpart to natural science. The first category constitutes the nineteenth-century approach to myth. The second category constitutes the twentieth-century approach. Tylor and Frazer epitomize the nineteenth-century view. Malinowski, Eliade, Bultmann, Jonas, Camus, Freud, and Jung epitomize the twentieth-century approach. The (...) question for the twenty-first century is whether myth can be brought back to the physical world, but in a way compatible with science. The case of the myth of Gaia will be considered as a possible way of doing so. (shrink)

At least three major questions can be asked of myth: what is its subject matter? What is its origin? What is its function? Theories of myth may differ in the answers they give to any of these questions, but more basically they may also differ on which of the questions they ask. C.G. Jung's theory is one of the few that purports to answer fully all three questions. This volume collects and organizes the key passages on myth by Jung himself (...) and by some of the most prominent Jungian writers after him: Erich Neumann, Marie-Louise von Franz and James Hillman. The book synthesizes the discovery of myth as a way of thinking, where it becomes a therapeutic tool providing an entrance to the unconscious. (shrink)

Accession Number: ATLA0001712201; Hosting Book Page Citation: p 311-327.; Language(s): English; General Note: Bibliography: p 326-327.; Issued by ATLA: 20130825; Publication Type: Essay.

First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

Abstract. The topic of the March 2011 symposium in Zygon is “The Mythic Reality of the Autonomous Individual.” Yet few of the contributors even discuss “mythic reality.” Of the ones who do, most cavalierly use “myth” dismissively, as simply a false belief. Rather than reconciling myth with reality, they oppose myth to reality. Their view of myth is by no means unfamiliar or unwarranted, but they need to recognize other views of myth and to defend their own. Above all, they (...) need to appreciate the grip that any belief aptly labelled myth has—a grip that holds at least as much for a false belief as for a true one. (shrink)

In this comprehensive collection of essays, most of which appear for the first time, eminent scholars from many disciplines—philosophy, economics, sociology, political science, demography, theology, history, and social psychology—examine the causes, nature, and consequences of present-day consumption patterns in the United States and throughout the world.

Although the influence of Homer on Western literature has long commanded critical attention, little has been written on how various generations of readers have found menaing in his texts. These seven essays explore the ways in which the Illiad and the Odyssey have been read from the time of Homer through the Renaissance. By asking what questions early readers expected the texts to answer and looking at how these expectations changed over time, the authors clarify the position of the Illiad (...) and the Odyssey in the intellectual world of antiqueity while offering historical insight into the nature of reading. The collection surveys the entire field of preserved ancient interpretations of Homer, beginning with the fictional audiences portrayed within the poems themselves, proceedings to readings by Aristotle, the Stoics, and Aristarchus and Crates, and culminating in the spritiualized allegorical reading current among Platonists of the fifth and sixth centuries C.E. The influence of these ancient interpretations is then examined in Byzantium and in the Latin West during the Renaissance. Contributors to this volume are Robert Browning, Anthony Grafton, Robert Lamberton, A.A. Long, James Porter, Nicholas Richardson, and Charles Segal. Robert Lamberton is Assistant Professor of Classics and John J. Keaney is Professor of Classics, both at Princeton University. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Some philosophers take Perky's experiments to show that perceiving can be mistaken for visualizing and so that the two sometimes match in phenomenology. On Segal’s alternative interpretation Perky’s subjects did not consciously perceive the stimuli at all. I argue that even setting this alternative aside, Perky's results do not prove what the philosophers think. She showed her subjects, not the objects they were asked to visualise, but pictures of them. What they mistook for visualizing was not perceptual consciousness of stimuli, (...) but pictorial consciousness. Once clear about the nature of the latter, we can see that Perky's results reveal nothing very surprising. (shrink)

Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in the (...) cognitive sciences that has received little attention from philosophers, though it has relatively recently been thrown into the externalist spotlight (Cochrane 2008, Kruger 2014, Kersten forthcoming). Given that individualism can be thought of as a kind of paradigm for research on cognition, we provide a brief overview of the field of music cognition and individualistic tendencies within the field (sections 2 and 3) before turning to consider externalist alternatives to individualistic paradigms (section 4-5) and then arguing for a qualified form of externalism about music cognition (section 6). (shrink)

In "Explaining, Interpreting, and Theorizing Religion and Myth: Contributions in Honor of Robert A. Segal", nineteen renowned scholars offer a collection of essays addressing the persisting question of how to approach religion and myth as academic categories. Taking their cue from the work of Robert A. Segal, they discuss how to theorize about religion and myth from a variety of disciplinary perspectives. With cases from ancient Greece and Mesopotamia to East Asia and the modern world by and large, (...) and engaging with diverse disciplines such as psychology, philosophy, anthropology, history, film, theology, and religious studies among others, the volume establishes a synthesis that demonstrates the pervasiveness as well as the pitfalls of the categories "religion" and "myth" in the world. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that (...) composes the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

In this review of papers by E. O. Wilson, Philip Gorski, and Robert Segal, I apply Wilson's description of the relations between a discipline and its antidiscipline (the science just below it in the hierarchy of sciences) to the relations between theology and the social sciences. I claim (contra Gorski) that a common methodology is applicable to natural science, social science, and theology. However, despite the fact that a discipline cannot ordinarily be reduced to its antidiscipline, I claim (with (...) Segal) that it remains to be shown that a theistic interpretation of religious phenomena is superior to a social‐scientific explanation. I see this as work to be done rather than an impossibility. Insofar as it is shown that theology cannot be reduced to social‐scientific explanations, support is provided for the hypothesis of the existence of God. (shrink)

The Archaic takes as its major reference points C.G. Jung's classic essay, 'Archaic Man' (1930), and Ernesto Grassi's paper on 'Archaic theories of history' (1990). Moving beyond the confines of a Jungian framework to include other methodological approaches, this book explores the concept of the archaic. Defined as meaning 'old-fashioned', 'primitive', 'antiquated', the archaic is, in fact, much more than something very, very old: it is timeless, inasmuch as it is before time itself. Arch,̇ Urgrund, Ungrund, 'primordial darkness', 'eternal nothing' (...) are names for something essentially nameless, yet whose presence we nevertheless intuit. This book focuses on the reception of myth in the tradition of German Idealism or Romanticism (Creuzer, Schelling, Nietzsche), which not only looked back to earlier thinkers (such as Jacob Boehme) but also laid down roots for developments in twentieth-century thought (Ludwig Klages, Martin Heidegger). The Archaic also includes: - studies of the Germanic dimension of the archaic (Charles Bambach, Alan Cardew) - a discussion of the mytho-phenomenological approach to the archaic (Robert Josef Kozljani)̈ - a series of articles on Jung's understanding of the archaic (Paul Bishop, Susan Rowland, Robert Segal). This book will be of interest to psychoanalysts, anthropologists and phenomenologists, as well as students of psychology, cultural studies, religious studies, and philosophy, as it seeks to rehabilitate a concept of demonstrable and urgent relevance for our time. (shrink)