Is there anything peculiarly "photographic" about photography—something which sets it apart from all other ways of making pictures? If there is, how important is it to our understanding of photographs? Are photographs so unlike other sorts of pictures as to require unique methods of interpretation and standards of evaluation? These questions may sound artificial, made up especially for the purpose of theorizing. But they have in fact been asked and answered not only by critics and photographers but by laymen. Furthermore, (...) for most of this century the majority of critics and laymen alike have tended to answer these questions in the same way: that photographs and paintings differ in an important way and require different methods in interpretation precisely because photographs and paintings come into being in different ways. These answers are interesting because, even within the rather restricted classes of critics, photographers, and theorists, they are held in common by a wide variety of people who otherwise disagree strongly with each other—by people who think that photographs are inferior to paintings and people who believe they are superior; by people who think that photographs ought to be "objective" and those who believe they should be "subjective"; by those who believe that it is impossible for photographers to "create" anything and by those who believe that they should at least try. Joel Snyder teaches criticism and history of photography at the University of Chicago and is presently compiling a book of his own photographs. His contributions to Critical Inquiry include "Picturing Vision" and "Reflexions on Las Meninas: Paradox Lost", written with Ted Cohen in the Winter 1980 issue. Neil Walsh Allen produces educational audio-visual materials and has designed eight permanent exhibits on the history and applications of photography for the Smithsonian Institution. (shrink)

I find it more than merely suggestive that we call many different kinds of pictures "realistic." As a category label, "realistic" is remarkably elastic. We cheerfully place into the category pictures that are made in strict accordance with the rules of linear perspective, pictures that are at slight variance with those rules but that nonetheless look perfectly "correct" , and pictures made in flagrant contravention of perspective geometry . We accept as realistic pictures that are made in strict accordance with (...) the rules of perspective construction that we could never judge as being similar to anything we might or could ever see . We accept as realistic pictures that are in sharp disagreement with what we now take to be the facts of vision . . . There is something charming and yet nasty about the belief in the special relation of picture to world. It is charming because it allows us to "enter" with ease into pictures and allows them to "extend" into our world. It allows us to think of pictures as "true to life," to use [Ernst] Gombrich's beguiling term, to look at a picture and ask questions of it, as if we were looking at the world through a window. It allows us to treat pictures as substitutes for the objects they represent and so, for example, to buy clothing from an illustrated catalogue, or to analyze architectural styles from pictures of buildings. In brief, it allows us to feel proximity to what is depicted and urges us to conclude that in certain important respects looking at a picture is equivalent to looking at what is pictured. Joel Snyder, associate professor of humanities and of art and design at the University of Chicago, teaches aesthetics, and theory and history of photography. A practicing photographer, he is currently completing a monograph on the photographer Timothy H. O'Sullivan. His contributions to Critical Inquiry include "Photography, Vision, and Representation" and "Reflexions on Las Meninas: Paradox Lost", written with Ted Cohen in the Winter 1980 issue. (shrink)

Surely [John R.] Searle must rely on a stable, formal conception of the point of view. He sets Las Meninas on a par with the antimony of the liar and the paradoxes of set theory. But nothing is an antimony or a paradox just because it seems so or just because it is confusing or difficult, even if it seems so to everyone. To deserve such a description, a thing must be, so to speak, intrinsically intractable, not merely resistant when (...) looked at in a particular way. If a man says "I do not believe I am alive," that would be odd, and it would be hard to understand just what he means, and it may even be hard or impossible to believe that he is telling the truth; but there is no antimony. If a man says "I am lying," then we have a primitive version of the antimony of the liar. Given the meaning of this utterance—and nothing else—there is no way to get a grip on it. If what the man says is true, then it's false; if what he says is false, then it's true. Joel Snyder, a practicing photographer, is associate professor of humanities and of art and design at the University of Chicago. His contributions to Critical Inquiry include "Photography, Vision, and Representation," written with Neil Walsh Allen , and "Picturing Vision" . Ted Cohen, associate professor of philosophy at the University of Chicago, has written on language, aesthetics, and taste. His previous contribution to Critical Inquiry, "Metaphor and the Cultivation of Intimacy," appeared in the Autumn 1978 issue. (shrink)

It is ironic that, with few exceptions, the now vast body of critical literature about Diego Velázquez’s Las Meninas fails to link knowledge to understanding—fails to relate the encyclopedic knowledge we have acquired of its numerous details to a convincing understanding of the painting as a whole. Las Meninas is imposing and monumental; yet a large portion of the literature devoted to it considers only its elements: aspects of its nominal subjects, their biographies, and their roles in the household of (...) the queen or the king. Niceties of court etiquette; concerns about clothing, and shoes , and the small cup of water offered to the Infanta Margarita .This increasingly intimate discussion of the painting’s details is not altogether beside the point; some of this information deserves to be integrated into descriptions of the painting as a whole. But a reader of these descriptive accounts soon begins to suspect they are offered in the hope that some new details might provoke an understanding of the entire painting, might prove to be the key to our comprehension of it. In fact, Las Meninas invites such analysis. Some nineteenth-century critics called it “photographic” in its naturalism , in the profusion of its detail, and in the alleged “snapshot” quality of its composition.1 The underlying motive of this understanding ought not to be dismissed, even thought the photography analogy is clearly grotesque, in terms both of history and visual sensibility. Although we know a great deal about the contention, in seventeenth-century Spanish art theory, that a major function of art is the perfecting of nature according to ideal standards, Las Meninas nonetheless is most commonly taken to be a pure spectacle memorializing an incidental moment, seemingly explicable solely in terms of what is apparent in it. 1. Gustav Waagen, paraphrased in Carl Justi, Diego Velazquez and His Times , p. 419; William Stirling-Maxwell, quoted in ibid. Joel Snyder is associate professor of humanities and of art and design and is chairman of the Committee on General Studies in the Humanities at the University of Chicago. He is currently working on a book about the foundations of perspective. His previous contributions to Critical Inquiry are “Photography, Vision, and Representation,” written with Neil Walsh Allen , “Picturing Vision” , and “Reflexions on Las Meninas: Paradox Lost,” written with Ted Cohen. (shrink)

Some of the most celebrated images of nineteenth-century American photography emerged from government-sponsored geological surveys whose purpose was to study and document western territories. Timothy H. O'Sullivan and William Bell, two survey photographers who joined expeditions in the 1860s and 1870s, opened the eyes of nineteenth-century Americans to the western frontier. Highlighting a recent Smart Museum of Art acquisition, One/Many brings together an exquisite group of photographs by Bell and O'Sullivan. Particularly noteworthy are their photographic panoramas, assemblages of individual images (...) joined together to form a continuous, horizontal landscape view. These panoramas have not been exhibited in well over a century and have never before been published. For the first time, One/Many investigates their role and purpose both within and outside of the surveys, taking into account the larger context of nineteenth-century modes of viewing. The volume also allows the little-known Bell's work to be better understood next to that of his more famous colleague. (shrink)

Numerous writers on photography and motion pictures have claimed that photographically originated pictures are essentially different from handmade pictures. Arguments made on behalf of the essential difference of photographs from other kinds of pictures generally depend upon one or another of two models of the photographic process: the visual model claims that photographs are closely allied to vision and show what we would have seen from the standpoint of the camera at the time of exposure; the mechanical or automatic model (...) claims that irrespective of what a photograph looks like, it is a reliable index of what was the case at the moment of exposure. Each of these models is examined and shown to be faulty on either or both factual and/or conceptual grounds. Stanley Cavell's assertions about the "automatic" nature of photography are examined in some detail and shown to be either equivocal or false. It is suggested, in closing, that sharp, categorial differences between photographs and handmade pictures do not exist and that questions about the differences between photographs and, say, paintings, can be solved only within the context of viewing particular photographs and particular paintings. In sum, claims about the ontological distinctions between photographs and handmade pictures cannot be warranted. (shrink)

Numerous writers on photography and motion pictures have claimed that photographically originated pictures are essentially different from handmade pictures. Arguments made on behalf of the essential difference of photographs from other kinds of pictures generally depend upon one or another of two models of the photographic process: the visual model claims that photographs are closely allied to vision and show what we would have seen from the standpoint of the camera at the time of exposure; the mechanical or automatic model (...) claims that irrespective of what a photograph looks like, it is a reliable index of what was the case at the moment of exposure. Each of these models is examined and shown to be faulty on either or both factual and/or conceptual grounds. Stanley Cavell's assertions about the "automatic" nature of photography are examined in some detail and shown to be either equivocal or false. It is suggested, in closing, that sharp, categorial differences between photographs and handmade pictures do not exist and that questions about the differences between photographs and, say, paintings, can be solved only within the context of viewing particular photographs and particular paintings. In sum, claims about the ontological distinctions between photographs and handmade pictures cannot be warranted. (shrink)

Objections arise to the concept of artistic intention based upon the psychology of a period. Here too we experience trends or volitions which can only be explained by precisely those artistic creations which in their own turn demand an explanation on the basis of these trends and volitions. Thus "Gothic" man or the "primitive" from whose alleged existence we wish to explain a particular artistic product is in truth the hypostatized impression which has been culled from the works of art (...) themselves. Or it is a question of intentions and evaluations which have become conscious as they find their formulation in the contemporary theory of art or in contemporary art criticism. Thus these formulations, just like the individual theoretical statements of the artists themselves, can once more only be phenomena parallel to the artistic products of the epoch; they cannot already contain their interpretation. Here again this parallel phenomenon would, in its entirety, represent an extraordinarily interesting object of humanistic investigation, but it would be incapable of defining in detail a methodologically comprehensible volition. So, too, the view of art which accompanies a period's artistic output can express the artistic volition of the period in itself but cannot put a name to it for us. This view can be of eminent significance when we are seeking a logical explanation for the perception of tendencies dominating at a given time and thus also for the judgment of artistic volition at that time, which must also be interpreted.Erwin Panofsky, the renowned art historian, was professor at the Institute for Advanced Study, Princeton University, until his death in 1968. Among his many books and articles are Meaning in the Visual Arts, Early Netherlandish Painting, and Renaissance and Renascenes in Western Art. Kenneth Northcott is professor of German and comparative literature at the University of Chicago and the translator of Arnold Hauser's Sociology of Art . Joel Snyder is chairman of the committee on general studies in the humanities at the University of Chicago. (shrink)

Both target papers cite evidence from infancy and early childhood to support the notion of human musicality as a somewhat static suite of capacities; however, in our view they do not adequately acknowledge the critical role of developmental timing, the acquisition process, or the dynamics of social learning, especially during later periods of development such as middle childhood.

Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. True to the particularity of things, each of the essays singles out one object for close attention: a Bosch (...) drawing, the freestanding column, a Prussian island, soap bubbles, early photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock. Each is revealed to be a node around which meanings accrete thickly. But not just any meanings: what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are saturated with cultural significance. Things become talkative when they fuse matter and meaning; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible. At these junctures, certain things become objects of fascination, association, and endless consideration; they begin to talk. Things that talk fleetingly realize the dream of a perfect language, in which words and world merge.Essays Lorraine Daston, Peter Galison, Anke te Heesen, Caroline A. Jones, Joseph Leo Koerner, Antoine Picon, Simon Schaffer, Joel Snyder, and M. Norton and Elaine M. Wise. Lorraine Daston is Director at the Max Planck Institute for the History of Science in Berlin, Germany. She is the coauthor of Wonders and the Order of Nature, 1150-1750. (shrink)

Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. True to the particularity of things, each of the essays singles out one object for close attention: a Bosch (...) drawing, the freestanding column, a Prussian island, soap bubbles, early photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock. Each is revealed to be a node around which meanings accrete thickly. But not just any meanings: what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are saturated with cultural significance. Things become talkative when they fuse matter and meaning; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible. At these junctures, certain things become objects of fascination, association, and endless consideration; they begin to talk. Things that talk fleetingly realize the dream of a perfect language, in which words and world merge.Essays Lorraine Daston, Peter Galison, Anke te Heesen, Caroline A. Jones, Joseph Leo Koerner, Antoine Picon, Simon Schaffer, Joel Snyder, and M. Norton and Elaine M. Wise. Lorraine Daston is Director at the Max Planck Institute for the History of Science in Berlin, Germany. She is the coauthor of Wonders and the Order of Nature, 1150-1750. (shrink)

I want to suggest a point in metaphor which is independent of the question of its cognitivity and which has nothing to do with its aesthetical character. I think of this point as the achievement of intimacy. There is a unique way in which the maker and the appreciator of a metaphor are drawn closer to one another. Three aspects are involved: the speaker issues a kind of concealed invitation; the hearer expends a special effort to accept the invitation; and (...) this transaction constitutes the acknowledgement of a community. All three are involved in any communication, but in ordinary literal discourse their involvement is so persuasive and routine that they go unremarked. The use of metaphor throws them into relief, and there is a point in that. An appreciator of a metaphor must do two things: he must realize that the expression is a metaphor, and he must figure out the point of the expression. His former accomplishment induces him to undertake the latter. Realizing the metaphorical character of an expression is often easy enough; it requires only the assumption that the speaker is not simply speaking absurdly or uttering a patent falsehood. But it can be a more formidable task: not every figurative expression which can survive a literal reading is a mere play on words. Ted Cohen is chairman of the department of philosophy at the University of Chicago. He has written on language, aesthetics, and taste and has coedited a collection entitled Essays on Kant's Aesthetics. His contribution to Critical Inquiry, "Reflexions on Las Meninas: Paradox Lost", was written with Joel Snyder in the Winter 1980 issue. (shrink)

Reprinted in Philosophy of Religion: An Anthology, Wadsworth 2015, 6th edition, eds Michael Rea and Louis Pojman. What is propositional faith? At a first approximation, we might answer that it is the psychological attitude picked out by standard uses of the English locution “S has faith that p,” where p takes declarative sentences as instances, as in “He has faith that they’ll win”. Although correct, this answer is not nearly as informative as we might like. Many people say that there (...) is a more informative answer. They say that, at the very least, propositional faith requires propositional belief. More precisely, they say that faith that p requires belief that p or that it must be partly constituted by belief that p. This view is common enough; call it the Common View. I have two main aims in this paper: (i) to exhibit the falsity of the Common View and the paucity of reasons for it, and (ii) to sketch a more accurate and comprehensive account of what propositional faith is. (shrink)

In this short essay, we sketch a theory of faith that features resilience in the face of challenges to relying on those in whom you have faith. We argue that it handles a variety of both religious and secular faith-data, e.g., the value of faith in relationships of mutual faith and faithfulness, how the Christian and Hebrew scriptures portray pístis and ʾĕmûnāh, and the character of faith as it is often expressed in popular secular venues.

Does faith that p entail belief that p? If faith that p is identical with belief that p, it does. But it isn’t. Even so, faith that p might be necessarily partly constituted by belief that p, or at least entail it. Of course, even if faith that p entails belief that p, it does not follow that faith that p is necessarily partly constituted by belief that p. Still, showing that faith that p entails belief that p would be (...) a significant step in that direction. Can we take that step? In this essay, I assess, and reject, seven reasons to think we can. Along the way, I discuss having faith in a person, being a person of faith, believing something by faith, and believing a person. (shrink)

Biologists, historians, lawyers, art historians, and literary critics all voice arguments in the critical dialogue about what constitutes evidence in research and scholarship. They examine not only the constitution and "blurring" of disciplinary boundaries, but also the configuration of the fact-evidence distinctions made in different disciplines and historical moments the relative function of such concepts as "self-evidence," "experience," "test," "testimony," and "textuality" in varied academic discourses and the way "rules of evidence" are themselves products of historical developments. The essays and (...) rejoinders are by Terry Castle, Lorraine Daston, Carlo Ginzburg, Ian Hacking, Mark Kelman, R. C. Lewontin, Pierre Vidal-Naquet, Mary Poovey, Donald Preziosi, Simon Schaffer, Joan W. Scott, Eve Kosofsky Sedgwick, and Barbara Herrnstein Smith. The critical responses are by Lauren Berlant, James Chandler, Jean Comaroff, Arnold I. Davidson, Harry D. harootunian, Elizabeth Helsinger, Thomas C. Holt, Francoise Meltzer, Robert J. Richards, Lawrence Rothfield, Joel Snyder, Cass R. Sunstein, and William Wimsatt. (shrink)

According to many accounts of faith—where faith is thought of as something psychological, e.g., an attitude, state, or trait—one cannot have faith without belief of the relevant propositions. According to other accounts of faith, one can have faith without belief of the relevant propositions. Call the first sort of account doxasticism since it insists that faith requires belief; call the second nondoxasticism since it allows faith without belief. The New Testament may seem to favor doxasticism over nondoxasticism. For it may (...) seem that, according to the NT authors, one can have faith in God, as providential, or faith that Jesus is the Messiah, or be a person of Christian faith, and the like only if one believes the relevant propositions. In this essay, I propose to assess this tension, as it pertains to the Gospel of Mark. The upshot of my assessment is that, while it may well appear that, according to Mark, one can have faith only if one believes the relevant propositions, appearances are deceiving. Mark said no such thing. Rather, what Mark said—by way of story—about faith fits nondoxasticism at least as well as doxasticism, arguably better. More importantly, the account of faith that emerges from Mark is that faith consists in resilience in the face of challenges to living in light of the overall positive stance to the object of faith, where that stance consists in certain conative, cognitive, and behavioral-dispositional elements. (shrink)

This essay is a detailed study of William P. Alston’s view on the nature of Christian faith, which I assess in the context of three problems: the problem of the skeptical Christian, the problem of faith and reason, and the problem of the trajectory. Although Alston intended a view that would solve these problems, it does so only superficially. Fortunately, we can distinguish Alston’s view, on the one hand, from Alston’s illustrations of it, on the other hand. I argue that, (...) although Alston’s view only superficially solves these problems, Alston’s illustrations of it suggest a substantive way to solve them, a way that I sketch briefly. (shrink)

This article explores issues of what is seen and not seen, recorded and disregarded, as they relate to the author’s practical experimentations with alternate uses/forms of the camera. These alternates include the slit-scan camera and a little-known form called the cylinder pinhole camera, which was originally designed and tested by the photo historian Joel Snyder. What do these cameras tell us, the author asks, about the center and periphery of an image as it exists inside a camera before that (...) image is recorded on film? The prioritization of content at the center of an image, the article argues, is consistent with the West’s cultural bias toward making two-dimensional images on rectangular surfaces, such as drawings, paintings, and photographs. But we see something very different by looking into the black box of the camera, something not so rectangular. The figures included here, then, are meant to disrupt the center-periphery binary that has ruled photography in the West. These photos offer new insight into social expectations about the capacity of the camera, of panoramic images, and about strategies for analysis of art-making practices in general. (shrink)

Many theistic religions place a high value on faith in God and some traditions regard it as a virtue. However, philosophers commonly assign either very little value to faith in God or significant negative value, or even view it as a vice. Progress in assessing whether and when faith in God can be valuable or disvaluable, virtuous or vicious, rational or irrational, or otherwise apt or inapt requires understanding what faith in God is. This Special Issue on the normative appraisal (...) of faith in God for Religious Studies includes nine articles, from a diverse range of perspectives, which explore issues related to the core questions ‘What is faith in God?’ and ‘What normative questions about faith in God need to be addressed?’ In this Introduction, we briefly introduce each article. (shrink)

Reprinted in Philosophy of Religion: An Anthology, Wadsworth, 2013, 6th edition, eds. Michael Rea and Louis Pojman. In this essay, I argue that the moral skepticism objection to what is badly named "skeptical theism" fails.

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...) reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

In some circles, faith is said to be one of three theological virtues, along with hope and agape. But not everyone thinks faith is a virtue, theological or otherwise. Indeed, depending on how we understand it, faith may well conflict with the virtues. In this chapter we will focus on the virtue of humility. Does faith conflict with humility, or are they in concord? In what follows, we will do five things. First, we will sketch a theory of the virtue (...) of humility. Second, we will summarize a common view of faith, arguably held by Thomas Aquinas among others, and we will argue that Thomistic faith is not an intellectual virtue and that it conflicts with humility in the domain of inquiry. Third, we will plump for an older view of faith, one that predates Aquinas by at least 1500 years, Markan faith. Fourth, we will argue that Markan faith is an intellectual virtue and it is in concord with humility in the domain of inquiry. Fifth, we will argue that Markan faith, unlike Thomistic faith, is a personal virtue and that it is in concord with humility in the domain of personal relationships, both human-human and human-divine. (shrink)

For many people the existence of God is by no means a sufficiently clear feature of reality. This problem, the fact of divine hiddenness, has been a source of existential concern and has sometimes been taken as a rationale for support of atheism or agnosticism. In this collection of essays, a distinguished group of philosophers of religion explore the question of divine hiddenness in considerable detail. The issue is approached from several perspectives including Jewish, Christian, atheist and agnostic. There is (...) coverage of the historical treatment of divine hiddenness as found in the work of Maimonides, St. John of the Cross, Jonathan Edwards, Kierkegaard, and various Biblical writers. A substantial introduction clarifies the main problems of and leading solutions to divine hiddenness. Primarily directed at philosophers of religion, theologians, and scholars of religious studies, this collection could also serve as a textbook for upper-level courses in philosophy of religion. (shrink)

Faith in God conflicts with reason—or so we’re told. We focus on two arguments for this conclusion. After evaluating three criticisms of them, we identify an assumption they share, namely that faith in God requires belief that God exists. Whether the assumption is true depends on what faith is. We sketch a theory of faith that allows for both faith in God without belief that God exists, and faith in God while in belief-cancelling doubt God’s existence. We then argue that (...) our theory, unlike the theory of Thomas Aquinas, makes sense of four central items of faith-data: (i) pístis in the Synoptics, (ii) ʾemunāh in the Hebrew scriptures, (iii) exemplars of faith in God, including Abraham, Jesus, and Mother Teresa, and (iv) the widespread experience of people of faith today. We close by assessing revisions of the two arguments we began with, revisions that align with our theory of faith, and find them dubious, at best. (shrink)

Infallibilism is the view that a belief cannot be at once warranted and false. In this essay we assess three nonpartisan arguments for infallibilism, arguments that do not depend on a prior commitment to some substantive theory of warrant. Three premises, one from each argument, are most significant: (1) if a belief can be at once warranted and false, then the Gettier Problem cannot be solved; (2) if a belief can be at once warranted and false, then its warrant can (...) be transferred to an accidentally true belief; (3) if a belief can be at once warranted and false, then it can be warranted and accidentally true. We argue that each of these is either false or no more plausible than its denial. Along the way, we offer a solution to the Gettier Problem that is compatible with fallibilism. (shrink)

We might be tempted to think that, necessarily, if God unsurpassably loves such created persons as there may be, then for any capable created person S and time t, God is at t open to being in a positively meaningful and reciprocal conscious relationship with S at t, where one is open to relationship with another only if one never does anything (by commission or omission) that would have the result that the other was prevented from being able, just by (...) trying, to participate in that relationship. I argue that we should resist the temptation. (shrink)

I argue for a version of "ought" implies "can". In particular, I argue that it is necessarily true that if an agent, S, ultima facie ought to do A at T', then there is a time T* such that S can at T* do A at T'. In support of this principle, I have argued that without it, we cannot explain how it is that, in cases where agents cannot do the best thing, they often ought to do some alternative (...) action - such as get help or do the promised action later; nor can we explain the phenomenon of necessary enablers or the phenomenon of more stringent prima facie obligations overriding less stringent ones in cases where the agent cannot fulfill both. (shrink)

This essay is aimed at a theistic audience, mainly those who are new to thinking hard about the problem of evil.

It is common for young Christians to go off to college assured in their beliefs but, in the course of their first year or two, they meet what appears to them to be powerful defenses of scientific naturalism and crushing critiques of the basic Christian story (BCS), and many are thrown into doubt. They think to themselves something like this: "To be honest, I am troubled about the BCS. While the problem of evil, the apparent cultural basis for the diversity (...) of religions, the explanatory breadth of contemporary science, naturalistic explanations of religious experience and miracle reports, and textual and historical criticism of the Bible, among other things, don’t make me believe the BCS is false , I am in serious doubt about it, so much so that I lack belief of it. In that case, how can I have Christian faith? And if I don’t have faith, how can I keep on praying, attending church, affirming the creed, confessing my sins, taking the sacraments, singing the hymns and songs, and so on? I can’t, unless I’m a hypocrite. So integrity requires me to drop the whole thing and get out." Of course, our student is not alone. Many Christians find themselves for some portion of their lives somewhere on the trajectory from doubt to getting out. Indeed, Christians in the West struggle with intellectual doubt more than they used to, especially university-educated Christians. What should we say to them? Some will say “Get out!,” welcoming the development as a path to liberation. We explore a different response in this essay. (shrink)

This study provides a unified framework within which to view the development of pre-Socratic thought. It points out three aspects of Xenophanes' scepticism, and shows how Heraclitus responded to each. Key issues concerning psyche and logos are summarized and an attempt is made to settle certain long-standing debates concerning them.

Over a period of 19 months in 2006 and 2007, Mattel recalled approximately 14 million toys. The company was subjected to numerous lawsuits and regulatory actions and suffered severe damage to its reputation. Two issues were involved: excessive levels of lead in numerous toy surface paints and small detachable magnets in some toys, which could be swallowed. An examination of the facts shows that two different ethical situations were involved—one concerning product design and the other concerning manufacturing practices of Mattel's (...) Chinese contractors and subcontractors. The ethical obligations of the company and individuals within the company in the two situations were quite different, and illustrate problems faced by companies in managing their global supply chains. (shrink)

A brief article on faith as a psychological attitude.

“Divine hiddenness”, as the phrase suggests, refers, most fundamentally, to the hiddenness of God, i.e., the alleged fact that God is hidden, absent, silent. In religious literature, there is a long history of expressions of annoyance, anxiety, and despair over divine hiddenness, so understood. For example, ancient Hebrew texts lament God’s failure to show up in experience or to show proper regard for God’s people or some particular person, and two Christian Gospels portray Jesus, in his cry of dereliction on (...) the cross, as experiencing abandonment by God, whom he regarded as “Abba, Father”, an experience shared by many mystics, saints, and ordinary folk of all theistic traditions, described at its worst as “the dark night of the soul”. Understood in this way, divine hiddenness poses an existential problem for those who have such experiences. -/- However, “divine hiddenness” refers to something else in recent philosophical literature, especially since the publication of J.L. Schellenberg’s landmark book, Divine Hiddenness and Human Reason (1993). In this context, it refers to alleged facts about the absence of belief of God, on the basis of which one might think there is no God. For example, Schellenberg argues that, since there are nonbelievers who are capable of a personal relationship with God and who do not resist it, there is no perfectly loving God, while Stephen Maitzen argues that naturalism better explains the “demographics” of nonbelief than theism and Jason Marsh argues that naturalism better explains “natural nonbelief” than theism. Understood in this way, divine hiddenness constitutes putative evidence for atheism. -/- Although some of the recent philosophical literature addresses the problem understood in the first way (e.g., DeWeese-Boyd 2016; Garcia 2002), this entry focuses on divine hiddenness understood in the second way. The first section discusses the relationships between nonbelief and another source of alleged evidence for atheism: evil. The second section states and defends the argument from nonresistant nonbelief. The third section sketches attempts to explain nonresistant nonbelief from a theistic perspective. The fourth section states other responses to the argument from nonresistant nonbelief. The fifth section discusses the argument from the demographics of nonbelief and the sixth section discusses the argument from natural nonbelief. (shrink)

This 9,000+ word entry briefly assesses five models of the Trinity, those espoused by (i) Richard Swinburne, (ii) William Lane Craig, (iii) Brian Leftow, (iv) Jeff Brower and Michael Rea, and (v) Peter van Inwagen.

Until recently, psychologists have conceptualised and studied trust in God (TIG) largely in isolation from contemporary work in theology, philosophy, history, and biblical studies that has examined the topic with increasing clarity. In this article, we first review the primary ways that psychologists have conceptualised and measured TIG. Then, we draw on conceptualizations of TIG outside the psychology of religion to provide a conceptual map for how TIG might be related to theorised predictors and outcomes. Finally, we provide a research (...) agenda for future empirical work in this area, as well as practical applications for counsellors and religious leaders. (shrink)

Judgment aggregation problems are language dependent in that they may be framed in different yet equivalent ways. We formalize this dependence via the notion of translation invariance, adopted from the philosophy of science, and we argue for the normative desirability of translation invariance. We characterize the class of translation invariant aggregation functions in the canonical judgment aggregation model, which requires collective judgments to be complete. Since there are reasonable translation invariant aggregation functions, our result can be viewed as a possibility (...) theorem. At the same time, we show that translation invariance does have certain normatively undesirable consequences (e.g. failure of anonymity). We present a way of circumventing them by moving to a more general model of judgment aggregation, one that allows for incomplete collective judgments. (shrink)

Saul Kripke once noted that there is a tight connection between computation and de re knowledge of whatever the computation acts upon. For example, the Euclidean algorithm can produce knowledge of _which number_ is the greatest common divisor of two numbers. Arguably, algorithms operate directly on syntactic items, such as strings, and on numbers and the like only via how the numbers are represented. So we broach matters of _notation_. The purpose of this article is to explore the relationship between (...) the notations acceptable for computation, the usual idealizations involved in theories of computability, flowing from Alan Turing’s monumental work, and de re propositional attitudes toward numbers and other mathematical objects. (shrink)

We argue that Michael Peterson's and William Hasker's attempts to show that God and gratuitous evil are compatible constitute miserable failures. We then sketch Peter van Inwagen's attempt to do the same and conclude that, to date, no one has shown his attempt a failure.

Evil, it is often said, poses a problem for theism, the view that there is an omnipotent, omniscient, and perfectly good being, "God," for short. This problem is usually called "the problem of evil." But this is a bad name for what philosophers study under that rubric. They study what is better thought of as an argument, or a host of arguments, rather than a problem. Of course, an argument from evil against theism can be both an argument and a (...) problem. Some people realize this for the first time when they assert an argument from evil in print and someone publishes a .reply in which numerous defects and oversights are laid bare for the public eye. And if it turns out that there is a God and He doesn't take kindly to such arguments, then an argument from evil might be a big problem, a very big problem, for one who sincerely propounds it. Typically, however, an argument from evil is not thought to be a problem for the atheist. But if not for the atheist, for whom is an argument from evil a "problem"? (shrink)

Suitable for advanced undergraduates and graduate students from diverse fields and varying backgrounds, this self-contained course in mathematical logic features numerous exercises that vary in difficulty. The author is a Professor of Mathematics at the University of Wisconsin.