This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

This chapter contains sections titled: Background The Way Forward.

This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950’s to the present time. Traces the contributions of the analytic tradition to aesthetics and the philosophy of art, from the 1950’s to the present time. Designed as a comprehensive guide to the field, it presents the most often-cited papers that students and researchers encounter. Addresses a wide range of topics, including identifying art, ontology, intention (...) and interpretation, values of art, aesthetic properties, fictionality, and the aesthetics of nature. Explores particular art forms, including pictorial art, literature, music, and the popular arts. (shrink)

Recent experimental work suggests that the concept of contextual fields should be generalized to allow the modulation of local information extraction by both external and internal context. The external context relates to the coherent information of the stimulus; the internal context refers to the parts of this information which are relevant for behavior. This dual interaction, present at every level of the hierarchy, requires a fundamental unit of processing more complex than a single neuron appears today. We argue that the (...) cortical column supplies the required mechanisms for a separate top-down and bottom-up processing and allows for interaction without destructive cross-talk. This flexibility might explain why the same basic architecture of a cortical column is used in the whole isocortex. (shrink)

ABSTRACTSchumpeter’s theory of socialism pivots on his response to Ludwig von Mises’s claim that rational economic calculation is “impossible” in a socialist economy. Mises held that because socialism eliminates market prices for the means of production, it is impossible under socialism to know the relative scarcities of productive inputs, and thus to determine rationally which of any number of technologically feasible production projects to pursue. Schumpeter appears to assume away Mises’s epistemic concerns about socialism by contending that it is theoretically (...) possible to determine which goods should be produced in a socialist economy if all the relevant data are known—which begs the question Mises had asked. Did Schumpeter really commit such an elementary error of interpretation? Or was the appearance of doing so part of his attempt to communicate to the reader of Capitalism, Socialism and Democracy a host of reservations about the likely consequences of socialism in practice, even as he ostentatiously praised its feasibility in principle? (shrink)

This paper considers a central objection to evolutionary epistemology. The objection is that biological and epistemic development are not analogous, since while biological variation is blind, epistemic variation is not. The generation of hypotheses, unlike the generation of genotypes, is not random. We argue that this objection is misguided and show how the central analogy of evolutionary epistemology can be preserved. The core of our reply is that much epistemic variation is indeed directed by heuristics, but these heuristics are analogous (...) to biological preadaptations which account for the evolution of complex organs. We also argue that many of these heuristics or epistemic preadaptations are not innate but were themselves generatedby a process of blind variation and selective retention. (shrink)

The “smart village” flourishes – at least in policy papers that envision the revitalization of rural areas through the civic deployment of networked media and telecommunications. Yet, while such aspirations are widespread, little is known about the views of those tasked with supervising and supporting digitally driven public participation for rural progress. To address the lack of insight into what these intermediary administrators conceive as catalysts and challenges for the realization of smart village conceptions, we surveyed representatives of regions in (...) Germany who oversee rural development schemes, most notably within the European LEADER framework. For these key actors, digital participation does not mainly hinge on broadband access and IT availability. Instead, they emphasize the importance of human and administrative resources as well as multi-actor collaboration, which we discuss in terms of digital readiness, digital willingness, and digital activity. Building the smart village, we conclude, seems not so much a matter of technological infrastructure, but rather of sociotechnical infrastructuring. (shrink)

For more than a century, law schools have trained students to 'think like a lawyer'. In these times of legal crisis, both in legal education and in global society, what does that mean for the rest of us? In this book, thirty leading international scholars - including Louis Assier-Andrieu, Marianne Constable, Yves Dezalay, Denise Ferreira da Silva, Bryant G. Garth, Peter Goodrich, Duncan Kennedy, Martti Koskenniemi, Shaun McVeigh, Samuel Moyn, Annelise Riles, Charles F. Sabel and William H. Simon - (...) examine what is distinctive about legal thought. They probe the relation between law and time, law and culture, and legal thought and legal action; the nature of current legal thought; the geography of legal thought; and the conditions for recognition of a new 'contemporary' style of law. This work will help theorists, social scientists, historians and students understand the intellectual context of legal problems, legal doctrine, and jurisprudential trends in the current conjuncture. (shrink)

The domain of phenomenological investigation delineated by the Husserlian term authentic empathy presents us with an immediate tension. On the one hand, authentic empathy is supposed to grant the subject access (in some sense that remains to be fully specified) to the Other’s experience. On the other hand, foundational phenomenological considerations pertaining to the apprehension of a foreign subjectivity determine that it is precisely a disjunction in subjective processes that is constitutive of the Other being other. In my approach to (...) this problem, I seek, within the context of a reading of Edith Stein’s work 'On the Problem of Empathy', to clarify the place of ascription in authentic empathy, and to render more explicit a certain notion of “contiguity” that I take to be informing Stein’s understanding of the co-givenness of the Other’s mental life. I go on to argue that a resolution to the problem of empathy lies in the idea that the respective lived experiences of self and Other are, as a matter of descriptive fact, phenomenally connected by a relation of resemblance, and that, consonantly, the essential structure of authentic empathy is characterised in its mature phases by an homological relation to picture consciousness. (shrink)

The domain of phenomenological investigation delineated by the Husserlian term authentic empathy presents us with an immediate tension. On the one hand, authentic empathy is supposed to grant the subject access (in some sense that remains to be fully specified) to the Other’s experience. On the other hand, foundational phenomenological considerations pertaining to the apprehension of a foreign subjectivity determine that it is precisely a disjunction in subjective processes that is constitutive of the Other being other. In my approach to (...) this problem, I seek, within the context of a reading of Edith Stein’s work On the Problem of Empathy, to clarify the place of ascription in authentic empathy, and to render more explicit a certain notion of “contiguity” that I take to be informing Stein’s understanding of the co-givenness of the Other’s mental life. I go on to argue that a resolution to the problem of empathy lies in the idea that the respective lived experiences of self and Other are, as a matter of descriptive fact, phenomenally connected by a relation of resemblance, and that, consonantly, the essential structure of authentic empathy is characterised in its mature phases by an homological relation to picture consciousness. (shrink)

Studying with Husserl in Göttingen, becoming a Carmelite nun, and finally meeting her death in Auschwitz, the multifaceted life of Edith Stein (1891-1942) is well known. But what about her writing? Have the different aspects of her scholarship received sufficient attention? Peter Tyler thinks not, and by drawing on previously untranslated and neglected sources, he reveals how Stein's work lies at the interface of philosophy, psychology, and theology. Bringing Stein into conversation with a range of scholars (...) and traditions, this book investigates two core elements of her thinking. From Nietzsche to Aquinas, psychoanalysis to the philosophy of the soul, and even the striking parallels between Stein's thought and Buddhist teaching, Tyler first unveils the interdisciplinary nature of what he terms her 'spiritual anthropology'. Second, he also explores her symbolic mentality. Articulating its poetic roots with the help of English poetry and medieval theology, he introduces Stein's self-named 'philosophy of life'. Considered in the context of her own times, The Living Philosophy of Edith Stein unearths Stein's valuable contributions to numerous subjects that are still of great importance today, including not only the philosophies of mind and religion, but also social and political thought and the role of women in society. By examining the richness of her thinking, informed by three disciplines and the tumultuous first half of the twentieth century, Tyler shows us how Edith Stein is the guide we all need, as we seek to develop our own philosophy for life in the contemporary world. (shrink)

Jean Anouilh , Antigone, La Table ronde, ISBN - 9782710300250Seamus Heaney, The Burial at Thebes: a version of Sophocles' Antigone, Farrar, Straus and Giroux, ISBN - 9780374117214.

This contribution aims to unpack the ontological nexus of cyborg identity and culture. It highlights a set of core assumptions driving its operations that merit critical attention as cyborgic and A...

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Eaton, (...) Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

The topic of this study is a notion of empathy that is common in philosophy and in the behavioral sciences. It is here referred to as ‘the notion of empathy as emotional sharing’, and it is characterized in terms of three ideas. If a person, S, has empathy with respect to an emotion of another person, O, then (i) S experiences an emotion that is similar to an emotion that O is currently having, (ii) S’s emotion is caused, in a (...) particular way, by the state of O or by S’s entertaining an idea of the state or situation of O, and (iii) S experiences this emotion in a way that does not entail that S is in the corresponding emotional state. The aim of the study is to clarify this notion of empathy by clarifying these three ideas and by tracing the history of their development in philosophy. -/- The study consists of two parts. Part one contains a short and selective account of the history in Western philosophy of the notion of empathy as emotional sharing. In chapter 2 Spinoza’s theory of imitation of affects and Hume’s theory of sympathy are presented. It is argued that these theories only exemplify the second idea characteristic of the notion of empathy as emotional sharing. Chapter 3 contains presentations of Adam Smith’s theory of sympathy, and Schopenhauer’s theory of compassion. These theories are shown to exemplify the second and the third idea. In chapter 4 there are presentations of Edith Stein’s description of Einfühlung, and Max Scheler’s account of empathy and fellow-feeling. It is shown that these accounts contain explicit specifications of the third idea, and it is argued that they also exemplify the second idea. -/- In part two, the three ideas are further clarified and the notion of empathy as emotional sharing is defined. Chapter 5 contains a discussion of the main contemporary philosophical analyses of empathy. Three different views are distinguished: one that construes empathetic emotions as emotional states, one that construes them as imagined emotions, and one that construes them as off-line emotions. The first two views are criticized and rejected. The third is accepted and further developed in chapter 6, which contains a general analysis of the emotions. A distinction is made between two ways of experiencing an emotion, and it is argued that it is possible to have the affective experience characteristic of a particular kind of emotional state without being in that kind of state. In chapter 7, a definition of ‘empathy’ is proposed. This definition contains specifications of the three ideas characteristic of the notion of empathy as emotional sharing, and it shows both how the empathizer’s emotion resembles the emotion of the empathee, and how this emotion is caused and experienced. (shrink)

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Eaton, (...) Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

Edith Stein’s work revolves around one central question, namely, the identity of the person. Discussions of this topic are already present in Stein’s dissertation. Iexamine her theory of identity, developed throughout her work and maturing in her magnum opus, Finite and Eternal Being, in three stages, each of which is historically relevant and original. First, Stein’s development of the question is examined phenomenologically, focusing on Stein’s early work. Second, I will show how Stein takes her (...) early phenomenological positions concerning the nature of the human person and combines them with Greek and medieval insights into ontology. Here I focus on Finite and Eternal Being. Finally, I concentrate on the meaning and value of Stein’s theory of identity as it contributes to a theory of the person in connection with Greek and medieval metaphysics, and a phenomenological philosophy of consciousness. Together, the three stages of the essay will demonstrate Stein’s systematic contribution toward a theory of personal identity, one of the most difficult problems of philosophy. (shrink)

Edith Stein’s work revolves around one central question, namely, the identity of the person. Discussions of this topic are already present in Stein’s dissertation. Iexamine her theory of identity, developed throughout her work and maturing in her magnum opus, Finite and Eternal Being, in three stages, each of which is historically relevant and original. First, Stein’s development of the question is examined phenomenologically, focusing on Stein’s early work. Second, I will show how Stein takes her (...) early phenomenological positions concerning the nature of the human person and combines them with Greek and medieval insights into ontology. Here I focus on Finite and Eternal Being. Finally, I concentrate on the meaning and value of Stein’s theory of identity as it contributes to a theory of the person in connection with Greek and medieval metaphysics, and a phenomenological philosophy of consciousness. Together, the three stages of the essay will demonstrate Stein’s systematic contribution toward a theory of personal identity, one of the most difficult problems of philosophy. (shrink)

The human being is an important subject in Edith Stein's work, not only in her first writings but also in her later work. Edith Stein's own contribution comes about as a result of the particular way she relates the classical metaphysics of being to the phenomenological philosophy of consciousness.

If the possible ends of art criticism are taken to include not only the provision of a detailed evaluation of the artwork, but, cognately, an elaboration upon how one has been, or believes oneself to have been, changed by a particular artistic encounter, then the very praxis of art criticism stands to benefit from a theoretical elucidation of the possible nature of the subjective transformations that may flow from the critical appreciation of art. We are entitled to enquire, in particular, (...) into the conditions under which, and indeed the extent to which, such putative change at the personal level can be explicated in moral epistemological terms. It is pertinent in this context also to investigate the phenomenal character of the experiences that have been operative and their essential structures; to enquire, in short, into the phenomenology of the transformative artistic encounter. In this thesis, the bearing, in particular, of intersubjectivity upon the content and modalities of disclosure in a literary context will be investigated. It will be shown how an understanding of the relevance of intersubjectivity to the phenomenology of literary experience can inform an assessment of the claims of literary aesthetic moral cognitivism. Yet the intention to clarify the connection between literary experience and intersubjectivity also requires reflection upon what it is in the first place to encounter someone else, and to apperceive a foreign subjectivity and its motivations. For this reason, the contributions of Edmund Husserl and Edith Stein to the investigation of the phenomenology of empathy will be discussed and evaluated. This discussion will in turn be shown to be of assistance in clarifying the role of the imagination in the apperception and comprehension of another person’s mental life. The thought of Jean Starobinski will prove to elucidate the question of why the insights of the phenomenological tradition are highly pertinent to the investigation of literary experience, and to the development, in particular, of a conception of an imagined ‘Other’ who is (in a sense that will be clarified) embedded within the literary text, a person, that is, to whom one might coherently refer as the “implied author”. For reasons which will emerge in the course of this study, it will be argued that authentic empathy, in its fulfilling explication (in the Steinian sense), is given to the empathising consciousness in the manner of a semblance, and, consonantly, that the phenomenological structure of authentic empathy is characterised in its mature phases by an homological relation to pictureconsciousness. The epistemological significance of literature’s capacities for moral suggestion will be explicated principally in terms of the unfolding of values within the human personality, and in terms of the disclosure of the phenomenal character and structures of virtuous experience. It will be explained why the structure of empathy has implications for the aesthetic value of literature. The question of the relation between aesthetic and ethical value will be clarified. In this context, it will be argued on phenomenological grounds that the appresentation of moral virtue in an implied author could contribute to the aesthetic value of a literary work, although it will also be shown that implied authorial moral virtue could conflict irremediably with other qualities like moral doubt and uncertainty, which may themselves be important sources of aesthetic value. For this reason, the thesis will conclude by challenging the ethicist view that an aesthetically relevant ethical flaw in a literary work must count as an aesthetic flaw. (shrink)

The Blackwell Guide to Aesthetics is one of the most authoritative surveys of the central issues in contemporary aesthetics available. The volume features eighteen newly-commissioned essays on the evaluation of art, the interpretation of art, and forms of art such as literature, movies, dance, and music. Written in clear and accessible prose by an assembly of some of the most distinguished philosophers of art, these essays develop the themes, discuss the problems, and evaluate the arguments of the main topics in (...) the field. An excellent resource for students and scholars alike, this book provides a guide to the central, traditional questions as well as the cutting-edge issues in aesthetics today. The contributors are Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Muelder Eaton, Joseph Margolis, Berys Gaut, Nicholas Wolterstorff, Susan Feagin, Peter Lamarque, Stein Haugom Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald W. Crawford, Philip Alperson, Laurent Stern, and Amie L. Thomasson. (shrink)

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Eaton, (...) Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Eaton, (...) Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

This collection of essays, published to coincide with Tony Honore's sixty-fifth birthday, focuses on the areas where Honore's thought has made the most significant contribution: Roman law and jurisprudence. Included are essays by P.S. Atiyah, Zenon Bankowski, John Bell, Peter Birks, John W. Cairs, Hugh Collins, David Daube, W. M. Gordon, J. W. Harris Nicola Lacey, A. D. E. Lewis, Detlef Liebs, G. D. MacCormack, Neil MacCormick, G. Maher, Pieter Norr, Alan Rodger, and Peter Stein.

This article responds to the arguments put forth by Peter Lamarque and Stein Haugom Olsen in Truth, Fiction, and Literature: A Philosophical Perspective (1994). It argues that the said work is representative of the widespread tendency in literary theory today to discard the possibility of literary truth, and it provides counterarguments to the work’s main theses. Consequently, it criticizes the philosophy of pragmatism and its implications, and it offers a theory that defines fictional objects as existing and solves (...) contradictions that commonly affect our debates on the ontology of fiction. The article does not provide a positive theory of literary truth, but it undermines its denials, which have become popular in recent decades. (shrink)