Why is American punishment so cruel? While in continental Europe great efforts are made to guarantee that prisoners are treated humanely, in America sentences have gotten longer and rehabilitation programs have fallen by the wayside. Western Europe attempts to prepare its criminals for life after prison, whereas many American prisons today leave their inhabitants reduced and debased. In the last quarter of a century, Europe has worked to ensure that the baser human inclination toward vengeance is not reflected by state (...) policy, yet America has shown a systemic drive toward ever increasing levels of harshness in its criminal policies. Why is America so short on mercy? In this deeply researched, comparative work, James Q. Whitman reaches back to the 17th and 18th centuries to trace how and why American and European practices came to diverge. Eschewing the usual historical imprisonment narratives, Whitman focuses instead on intriguing differences in the development of punishment in the age of Western democracy. European traditions of social hierarchy and state power, so consciously rejected by the American colonies, nevertheless supported a more merciful and dignified treatment of offenders. The hierarchical class system on the continent kept alive a tradition of less-degrading "high-status" punishments that eventually became applied across the board in Europe. The distinctly American, draconian regime, on the other hand, grows, Whitman argues, out of America's longstanding distrust of state power and its peculiar, broad-brush sense of egalitarianism. Low-status punishments were evenly meted out to all offenders, regardless of class or standing. America's unrelentingly harsh treatment of trangressors--this "equal opportunity degradation"-- is, in a very real sense, the dark side of the nation's much vaunted individualism. A sobering look at the growing rift between the United States and Europe, Harsh Justice exposes the deep cultural roots of America's degrading punishment practices. (shrink)

Why battles matter -- Accepting the wager of battle -- Laying just claim to the profits of war -- The monarchical monopolization of military violence -- Were there really rules? -- The death of pitched battle.

American criminal justice has undergone a sad odyssey over the last 175 years. In the early nineteenth_century, when Alexis de Tocqueville arrived to study American prisons, American criminal punishment was regarded as a model for the civilized world. Today, by contrast, America is widely regarded with horror. What happened? This Article focuses on some Tocquevillean themes. The roots of the harsh criminal punishment regime of the contemporary United States have to do with some of the aspects of "Democracy in America" (...) that Tocqueville found most entrancing. These include traditions of popular sovereignty, religious freedom and social equality. It may be painful for Americans to acknowledge the possibility that some of their most cherished ideals may have ugly consequences for criminal punishment, but they must do so. (shrink)

American criminal justice has undergone a sad odyssey over the last 175 years. In the early nineteenth_century, when Alexis de Tocqueville arrived to study American prisons, American criminal punishment was regarded as a model for the civilized world. Today, by contrast, America is widely regarded with horror. What happened? This Article focuses on some Tocquevillean themes. The roots of the harsh criminal punishment regime of the contemporary United States have to do with some of the aspects of "Democracy in America" (...) that Tocqueville found most entrancing. These include traditions of popular sovereignty, religious freedom and social equality. It may be painful for Americans to acknowledge the possibility that some of their most cherished ideals may have ugly consequences for criminal punishment, but they must do so. (shrink)

We live in an age of massive efforts to transplant Western institutions. Some of those efforts have involved the so-called "Washington Consensus"; some have involved International Human Rights; but all of them have brought the West to the rest of the world, and all of them reflect a kind of missionary drive. What are the historical sources of this legal missionizing? This Article argues that those sources long predate the twentieth century, and indeed long predate the colonial adventures that began (...) in the sixteenth century. Western law was already culturally predisposed to spread well before Iberian ships reached the Americas. In particular, Western law began, in antiquity, as city-state law, and only gradually penetrated the countryside. This colonization of the countryside by the cities took place partly under the influence of Christianity. It also reflected a centrally important event in the development of Western law: the great northward shift of the center of gravity of Western culture from the Mediterranean to trans-alpine Europe, which we can roughly date to 700-1000 C.E. The long, slow internal colonization of the countryside in the West set much of the pattern for the external colonization of the non-Western world that eventually commenced in the sixteenth century. (shrink)

In working his way through his complex conception of the relation of fiction and reality, [Henry] James thus found the unconscious moral dimension inextricably embedded within "realism" itself. In following the threads of realism back to consciousness itself, James invariably found there intertwined with its roots those aspects and elements that other theorists kept carefully separate. By exploring experience to its source, he found imagination. By following objective life from "out there" to conception, he found individual vision. By (...) following the seeming oneness of the passing show back to perception, he found infinite variation and multiplicity. By following the uncolored flux and flow of events to their embodiment in the fictional medium, he found coloration of personality. And by following the "felt life" back to the artist's "prime sensibility", James found there the "moral sense" and the "enveloping air of the artist's humanity"—that which gives "the last touch to the worth of a work." James E. Miller, Jr., professor of English at the University of Chicago, is the author of A Critical Guide to Leaves of Grass; Walt Whitman; F. Scott Fitzgerald: His Art and His Technique; J.D. Salinger; Theory of Fiction: Henry James; and numerous articles on American literature and education. He contributed "Catcher In and Out of History" to Critical Inquiry, Spring 1977. (shrink)

“Postmodern” is an elusive concept that embraces a wide range of critical theories and attitudes. To borrow the assessment that the American poet Walt Whitman offered of himself, the concept is large and contains multitudes, various aspects of which often seem to be at odds with one another. Postmodern art likewise contains multitudes; indeed, it would seem that one of postmodern art's chief characteristics is the comfortable integration of apparently contradictory stimuli that, importantly, are sited less in the “work” itself (...) than in the eye/ear/mind of the beholder. Grounded on the idea that postmodern music is defined not by composers but by listeners, this essay challenges musicological writing that since the early 1990s has sought both to illuminate an ideology of postmodernism and to identify elements of a postmodernist style. In particular, it counters the much-repeated statement that the first, and perhaps quintessential, example of musical postmodernism is the eclectic yet thoroughly linear and discursive 1972 Third String Quartet of the late American composer George Rochberg; the essay suggests that, if a prototype of the postmodern in music must be named, a better candidate would be Rochberg's palimpsest-like 1965 Music for the Magic Theater. (shrink)

From beginning to end, the poem is literally made up of relations…[that] constitute a method of contemplation and criticism, a way of inviting the reader to think in terms of one thing in terms of another. Consider, for example, Odysseus' trip to Chryse in book 1, a passage I never read without surprise: in this tense and heavily charged world, in which everything seems to have been put into potentially violent contention, why are we given this slow and deliberate journey, (...) so heavily formulaic in texture? The answer is that this is a ritual of reconciliation, a kind of healing, which will receive its most ample performance at the great movement in book 24 when Achilles and Priam share their sorrows. A movement begins here that will run throughout the poem.It is by such an art of arrangement, by placing one thing against another, that Homer criticizes the world of book 1 with which he began; not, as we expect of a writer today, by elaborating competitive languages of motives and value but by ordering his materials into patterns of experience that teach the reader something different from anything the material itself seems to say.1 In a way the poem, as a whole thus has the form of argument; not, of course, argument in the ratiocinative sense of a thesis supported by propositions, from which it can be said to proceed by the rules of logic or the laws of probability, but argument as an activity of critical engagement, a definition of resources and a testing of limits, that results in the creation of a new position taken by the writer and offered to the reader. An argument goes on in the text, but its method is closer to that of music than debate.· 1. Cf. Cedric H. Whitman, Homer and the Heroic Tradition chap. 6, for another view of the ways that formula and image combine.James B. White is a professor in the law school, the college, and the committee on the ancient Mediterranean world at the University of Chicago. He is the author of The Legal Imagination, Constitutional Criminal Procedure, and a book on rhetoric and culture, from which the present article is drawn. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Our Living SocietyJames CampbellIWhen I was working on my history of the early years of the American Philosophical Association (A Thoughtful Profession), I spent a great deal of time immersed in the unhappy genre of the presidential address. Three divisions, each with its own annual president, make for a lot of presidential addresses. One of the things that I learned from this effort was that these addresses can be (...) sorted quite easily into two types. The first reflects some philosophical interest of the individual president; the second considers the ongoing life of the association. My presidential address will be of the latter sort.I thought that I would speak with you today about the Society for the Advancement of American Philosophy (SAAP) as a living society. To do so means, of course, that I will be speaking about us. "We" are the members of SAAP—or better, we are SAAP. I will address my remarks primarily to the younger members of the audience: to those who cannot recall a time before SAAP existed. As our Society moves forward, and as the members of the founding generation inevitably pass on, there has been a natural change of focus. Our Society was established nearly forty years ago, at a time when the founders felt great alienation from the American Philosophical Association. The issues that brought them together in the early-1970s, however, are not the issues that we are facing at present. Our issues—your issues as the future of the Society—have fundamentally changed. It is no longer possible, if it ever really was, to define ourselves simply as "not them." We need to articulate, better than we have, not so much who we are as who we desire to become. While our pluralistic ways may no longer stick out in the broader philosophical profession, as Walt Whitman would in a Wall Street brokerage house, we [End Page 128] continue to feel isolation from much of what goes on in the profession. In many ways, SAAP's initial phase has been a tremendous success; but where does SAAP, where do we, go from here?III thought that I might also speak a bit about myself, not because my story is so special, but because it is a small piece of our collective past. Others of you may remember these times differently and may have taken away different lessons. If you will allow me, I will begin my story after I left the Army in 1969 and enrolled at Temple University in Philadelphia, where I had grown up. I was at that time a bit older, and more serious, than most of my fellow students. I enrolled as a philosophy major because, after a number of years entrapped within the military system of blind obedience to unquestioned authority, I wanted to find better justifications for my own, and for society's, practices. Philosophy appealed to me as the place where I might find the answers to my life questions.Unfortunately, philosophy in those days—at Temple and at most other American universities—was not the sort of field in which students found many answers to the questions that puzzled me. We learned a great deal about duck-rabbits and the uncertain location of someone named Brown; we wondered whether a person might know how to sex chickens, and how he or she might know; we explored the apparent menace of female impersonators' conventions for the inherited notion of truth. Overall, philosophy seemed to be a branch of epistemology, rather than vice versa. After several years of this sort of philosophical study, I managed to become very clever. I had a counter-example for any statement more daring than "hello," and I thought that I knew a great deal because I had learned how to avoid all consideration of context or history.Still, through my cleverness, I realized that something was not right. I was not developing answers for my puzzlements about life or the improvement of society. Since I was not doing what I wanted to do in philosophy, the fact that I was doing it quite well mattered little. As I look back now through the eyes... (shrink)

The Lilly Endowment Research Program in Christianity and Politics is an enviable form of energetic subsidy which implements an American concern for intellectual integrity much more realistically than the lipservice which older and more complacent nations commonly profess. It believes that Christian culture should be brought to bear in detail upon the actual problems of politics and social order and it devotes an annual series of public lectures to this high-minded aim. The published series is inaugurated in this exploratory essay (...) into the possible nature of Christian philosophy itself by a distinguished Harvard professor, the text being developed from his Walter Freeman Whitman Lectures and Lilly Foundation Lectures of 1958. Holding that our anxious century has lost confidence in the self-sufficiency of human reason to establish an evident and closed order in reality, he believes that men are now ready to contemplate the reality of a chastened reason open to the influence of religious ideals. And he claims that the very reception of the term, ‘Christian philosophy’ only recently into common usage is ‘the expression of a noteworthy gap in our intellectual history’. (shrink)

Whitman was not one to be troubled about the solution of the problem of knowledge in particular, much less in general, nor for that matter was Emerson. Their way was to postulate solutions to problems just before they encountered them. My point, however, is that Whitman, with Emerson, did encounter a problem, the Diltheyan solution to which has tempted philosophers of history into our own time. If quoting Dilthey as a gloss on Emerson I would seem to want to involve (...) Whitman in philosophical issues beyond his ken, then instead I would recall an earlier, quite fundamental statement of the mood, rather than one of the mode: "That which hath been is now; and that which is to be hath already been; and God requireth that which is past." The King James version of these words from Revelations 3:16 is perhaps clarified in the Revised Standard version: "That which is, already has been; that which is to be, already has been , and God seeks what has been driven away."Roy Harvey Pearce is a professor of American literature at the University of California, San Diego. He is the author of The Savages of America: A Study of the Indian and the American Mind; The Continuity of American Poetry; and Historicism Once More: Problems and Occasions for the American Scholar. (shrink)

It is often argued that a shared culture, or at least shared cultural references or practices, can help to foster peace and prevent war. This essay examines in detail and criticizes one such argument, made by Patrick Leigh Fermor, in the context of his discussing an incident during World War II, when he and a captured German general found a form of agreement, a ground for peace between them, in their both knowing Horace's ode I.9 by heart in Latin. By (...) way of introducing the sixth and final installment of the Common Knowledge symposium “Peace by Other Means,” this essay proposes that Leigh Fermor's narrative be understood in terms of commerce, rather than consensus. It concludes by examining Ezra Pound's use of the word commerce in his poem “A Pact” to define his relationship with his “detested” and “pig-headed” poetic “father,” Walt Whitman. (shrink)

In the end, works of art are the only media of complete and unhindered communication between man and man that can occur in a world full of gulfs and walls that limit community of experience. Occasionally, thoughtful people familiar with both Walt Whitman and philosophical pragmatism will remark on their affinity.1 Some have even argued, correctly, that Whitman influenced American pragmatism, especially the writings of William James and to a lesser extent John Dewey.2 For instance, Raphael C. Allison (2002) (...) insightfully remarks: “Just as for James, for Dewey it is the communicability of Whitman’s art that makes it significant.”3 He then cites some of the best passages in Dewey’s entire corpus to warrant his.. (shrink)

In American Poetic Materialism from Whitman to Stevens, Mark Noble examines writers who rethink the human in material terms. Do our experiences correlate to our material elements? Do visions of a common physical ground imply a common purpose? Noble proposes new readings of Walt Whitman, Ralph Waldo Emerson, William James, George Santayana and Wallace Stevens that explore a literary history wrestling with the consequences of its own materialism. At a moment when several new models of the relationship between human (...) experience and its physical ground circulate among critical theorists and philosophers of science, this book turns to poets who have long asked what our shared materiality can tell us about our prospects for new models of our material selves. (shrink)

The intellectual relationship between Henry James and his father, who was a philosopher and theologian, proved to be an influential resource for the novelist. Andrew Taylor explores how James's writing responds to James Senior's epistemological, thematic and narrative concerns, and relocates these concerns in a more secularised and cosmopolitan cultural milieu. Taylor examines the nature of both men's engagement with autobiographical strategies, issues of gender reform, and the language of religion. He argues for a reading of Henry (...) James that is informed by an awareness of paternal inheritance. Taylor's study reveals the complex and at times antagonistic dialogue between the elder James and his peers, particularly Emerson and Whitman, in the vanguard of mid nineteenth-century American Romanticism. Through close readings of a wide range of novels and texts, he demonstrates how this dialogue anticipates James's own theories of fiction and selfhood. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Air of Liberty:A Transatlantic PerspectiveKieran M. Murphy (bio)"En somme le rôle du critique serait sans cesse de faire de l'air dans le plein du monde mais non pas forcement de faire du vide."—Roland Barthes"Dèyè mòn, gen mòn" ["Behind mountains, there are mountains"]—Haitian proverbThe phrase "I can't breathe" has become a worldwide rallying cry against injustice. Ben Okri deems "I can't breathe" the "mantra of oppression" that should "spark (...) the real change our world so desperately needs." He attributes the phrase's remarkable impact to how it taps into our primal fear of suffocation, encouraging empathy for "seemingly insignificant people." He also brings attention to how, as a slogan, "I can't breathe" subverts institutional racism through poetic means: "Not even William Shakespeare, Walt Whitman, James Baldwin or Toni Morrison at their most eloquent came out with anything as simple in the genius of its truth as: 'I can't breathe.'" This truth is airborne: "'I can't breathe' suddenly equates racism with the deprivation of air, which is what it always was." The chokehold of racism emerged with the transatlantic slave trade and, Okri concludes, has been ever since the prohibition of breathing "freedom."The powerful convergence of poetics and politics in the slogan "I can't breathe" comes from its essential truth: the aerial nature of freedom. More than just a concept or metaphor, freedom is also something you breathe. Freedom is a kind of concept-image that depends on our intimate, life-sustaining relationship with the atmosphere. "I can't breathe" brings attention to this relationship to help redress the failure of our institutions to bestow freedom equally.The aerial nature of freedom is even more apparent in the related slogan "the air of liberty." References to "the air of liberty" occurred frequently during the French Revolution to convey the origin of the "human rights" that have become the bedrock of our democratic institutions. Today, these human rights continue to exert their legal weight for the defense of equality. Yet, when confronted with the evasive mechanism of institutional racism, they keep falling short. This predicament is partly due to [End Page 200] their supposed airtight foundation. "The air of liberty" offers a window to the turbulent time when human rights sprang conspicuously from the atmosphere, that we can reopen to shift the focus from the legal to the aerial origin of freedom. This strategy unleashes historical winds that swept across the Atlantic world, including a critical undercurrent from the Haitian Revolution that prefigured the "I can't breathe" movement and its critique of the white chokehold on freedom. Click for larger view View full resolutionFigure 1.Detail of Jean-Jacques-François Le Barbier, Déclaration des droits de l'homme et du citoyen, circa 1789 (Source: Wikimedia Commons)The best-known depiction of the 1789 Declaration of the Rights of Man and of the Citizen (Fig. 1) portrays the origin of liberty in a scene unfolding in the sky. Spreading its light and dissipating the clouds of error, the Enlightenment's eye of reason levitates like an aerostat. Its liberating power illuminates the law symbolized by a winged figure pointing to the tablets below containing the articles proclaiming that "men" are born free and equal. Despite the prominence given to the eye of reason, it is in the atmosphere in which it elevates that we must look for the elemental spring of liberty.References to the aerial nature of liberty most intriguingly surfaced in contemporary debates concerning the universality of the Declaration of the Rights of Man. The revolutionary and abolitionist Jacques Pierre [End Page 201] Brissot characterized the 1791 slave rebellion that ravaged the colony of Saint-Domingue (now Haiti) as a fight for a purer, healthier air. In a speech delivered the same year at the National Assembly, he argued that, following the storming of the Bastille and the Declaration of the Rights of Man, the "atmosphere" of inequality hovering over the plantations of Saint-Domingue had become noxious not only for the enslaved but also for the troops that France might dispatch to restore order in the colony... (shrink)

This book is good reading. It is the song of man and philosophy, more especially the song of America and American philosophy. Although there are intimations of latter-day weariness and cynicism, the spirit of this work is the spirit of America in her youth, conscious of her newness, with visions of unlimited possibilities--the America of Emerson, Whitman, James, and Dewey.

Since 9/11, citizens of all nations have been searching for a democratic public philosophy that provides practical and inspiring answers to the problems of the twenty-first century. Drawing on the wisdom of past and present pragmatist thinkers, Judith M. Green maps a contemporary form of citizenship that emphasizes participation and cooperation and reclaims the critical role of social movements and nongovernmental organizations. Starting with empowering processes of storytelling, truth and reconciliation, and collaborative vision-questing that allow individuals to give voice and (...) new meaning to their loss, anxiety, and hope, Green frames cooperative inquiries to guide transformative actions. From this "second strand" of the democratic experience, leaders and participating citizens can help to shape a more desirable democratic future. In dialogue with Richard Rorty, Judith Butler, James Baldwin, Martin Luther King Jr., Elie Wiesel, Viktor Frankl, Cornel West, and other contemporary thinkers, Green defines the need for deeper understanding and fulfillment of the potentials of the democratic ideal. Drawing insights from Thomas Jefferson, Walt Whitman, William James, John Dewey, Jane Adams, and other earlier thinkers, Green frames a pragmatist understanding of emerging realities and possibilities, growing wells of shared truths, multifaceted histories, and mutually transformative experiences of citizenship. Employing examples from America's complex history and from recent world events, Green locates four sites for effective citizen activism: government at all levels, nonprofit organizations, issue-focused campaigns and social movements, and daily urban living. Green shows how citizens can revive social hope and deepen the democratic experience by drawing on their own knowledge and developing their capabilities through inclusive civic participation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 19-30 [Access article in PDF] Bugged Out:A Reflection on Art Experience Christopher Perricone I used to enjoy art. Not all the arts equally. Overall literature spoke to me most clearly. I am not sure exactly why. I guess some combination of inborn and learned dispositions. Whatever is the case, my enjoyment of literature always seemed natural to me, since literature was of (...) a medium I already knew, the vocabulary and grammar of my own language. But I enjoyed paintings and musical pieces as well, some of which I shall never forget even though they have virtually faded from my life, from what I have become.I cannot say that I ever had a favorite artwork. I have always thought the idea foolish, reminiscent of children who think often in terms of favorites, whether colors, candies, or friends. However, there are some works that do stand out in memory, even though, as I say, I cannot bring myself to enjoy them now. They are ghosts whose forms are discernible, but whose flesh is long gone.I had read lots of literature. I even enjoyed the act and the atmosphere of reading. I remember the chair I sat in, the lighting, the room. I also used to love to wake up on weekends, eat a leisurely breakfast, and then get back into bed and read until noon. Of course the setting itself of reading was ultimately not crucial, it was merely a pleasant means of facilitating one's excursion into another world. It was the other world that counted. So many worlds. Of course, I entered joyfully the worlds of Shakespeare and Dante, which Harold Bloom recently has judged at the center of the Western canon, but I entered also lesser but personally not less significant worlds to which I was drawn. 1 I needed some tutoring in Shakespeare and Dante because they did not quite speak my language, my twentieth-century American tongue. I had trouble negotiating their worlds. However, I had none whatsoever when it came to the worlds of James Joyce, Wallace Stevens, William Carlos Williams, Graham Greene, Walt Whitman, T.S.Eliot, Herman Melville, Emily Dickinson, or Joseph Conrad. I was at home in these worlds, different [End Page 19] worlds, but nonetheless home. I loved Conrad's the "Heart of Darkness." For me this was one of the truly haunting tales. After my first reading of the "Heart of Darkness," I can honestly say, my life was changed. I neither talked nor walked the same. I moved among and around people and things differently. I saw myself differently both among others and when I would stand before my mirror alone. And subsequent readings brought about further changes, changes of my comportment in the world. I imagined that I saw, heard, touched, tasted, and smelled the details from the beginning of that story to its very end. I sat on the deck of the Nellie with Marlow, Conrad's character narrator, and his listeners. I watched with them as the sun went down over the Thames. I followed Marlow as he told the story of how he had "set off for the center of the earth," up the Congo perhaps where in his mind all human life had its source; how as he came closer to the center facts became less straightforward, the greed for ivory, the "flavor of mortality in lies," the hollowness of Mr. Kurtz, the final horror of it all. I sweated in the heat of the "Heart of Darkness." Like any experience of a masterpiece, the "Heart of Darkness" was a visceral experience for me. After such experiences one feels emotionally and physically drained. One feels comfort in thinking, as with a dream, it was not real. And yet there is a lingering discomfort: as it were no mere fantasy at all.I often had feelings of the same intensity and profundity in respect to painting and music. They, too, were worlds for me. I enjoyed the varioustouches of the painters. In particular, I enjoyed the gold, the... (shrink)

"Chantal Mouffe's writings have been innovatory with respect to democratic theory, Marxism and feminism. Her work derives from, and has always been engaged with, contemporary political events and intellectual debates. This sense of conflict informs both the methodological and substantive propositions she offers. Determinisms, scientific or otherwise, and ideologies, Marxist or feminist, have failed to survive her excoriating critiques. In a sense she is the original post-Marxist, rejecting economisms and class-centric analyses, and the original post-feminist, more concerned with the varieties (...) of 'identity politics' than with any singularities of 'women's issues'. While Mouffe's concerns with power and discourse derive from her studies of Gramsci's theorisations of hegemony and the post-structuralisms of Derrida and Foucault, her reversal of the very terms through which political theory proceeds is very much her own. She centres conflict, not consensus, and disagreement, not finality. Whether philosophically perfectionist, or liberally reasonable, political theorists have been challenged by Mouffe to think again, and to engage with a new concept of 'the political' and a revived and refreshed notion of 'radical democracy'. The editor has focused on her work in three key areas: - Hegemony: From Gramsci to 'Post-Marxism' - Radical Democracy: Pluralism, Citizenship and Identity - The Political: A Politics Beyond Consensus The volume concludes with a new interview with Chantal Mouffe. James Martin is Professor of Politics at Goldsmiths, University of London, UK. He has published widely on Italian political thought, contemporary political theory and rhetoric."--. (shrink)

This book offers a fresh perspective on Richard Rorty by situating his work in the arena of political theory. Reinterpreting Rorty's much-maligned antirepresentationalism as a Romantic affirmation of the power of imaginative writing, Voparil firmly grounds Rorty in an American tradition that includes not only James and Dewey, but Emerson, Whitman, and James Baldwin, and initiates an overdue reassessment of this important thinker's value to the political discourse of the 21st century.

The Darwinian Revolution--the change in thinking sparked by Charles Darwin's On the Origin of Species, which argued that all organisms including humans are the end product of a long, slow, natural process of evolution rather than the miraculous creation of an all-powerful God--is one of the truly momentous cultural events in Western Civilization. Darwinism as Religion is an innovative and exciting approach to this revolution through creative writing, showing how the theory of evolution as expressed by Darwin has, from the (...) first, functioned as a secular religion. Drawing on a deep understanding of both the science and the history, Michael Ruse surveys the naturalistic thinking about the origins of organisms, including the origins of humankind, as portrayed in novels and in poetry, taking the story from its beginnings in the Age of Enlightenment in the 18th century right up to the present. He shows that, contrary to the opinion of many historians of the era, there was indeed a revolution in thought and that the English naturalist Charles Darwin was at the heart of it. However, contrary also to what many think, this revolution was not primarily scientific as such, but more religious or metaphysical, as people were taken from the secure world of the Christian faith into a darker, more hostile world of evolutionism. In a fashion unusual for the history of ideas, Ruse turns to the novelists and poets of the period for inspiration and information. His book covers a wide range of creative writers - from novelists like Voltaire and poets like Erasmus Darwin in the eighteenth century, through the nineteenth century with novelists including Elizabeth Gaskell, George Eliot, Thomas Hardy, Henry James and H. G. Wells and poets including Robert Browning, Alfred Tennyson, Walt Whitman, Emily Dickinson and Gerard Manley Hopkins, and on to the twentieth century with novelists including Edith Wharton, D. H. Lawrence, John Steinbeck, William Golding, Graham Greene, Ian McEwan and Marilynne Robinson, and poets including Robert Frost, Edna St Vincent Millay and Philip Appleman. Covering such topics as God, origins, humans, race and class, morality, sexuality, and sin and redemption, and written in an engaging manner and spiced with wry humor, Darwinism as Religion gives us an entirely fresh, engaging and provocative view of one of the cultural highpoints of Western thought. (shrink)

We make some remarks on the mathematics and metaphysics of the hole argument, in response to a recent article in this journal by Weatherall ([2018]). Broadly speaking, we defend the mainstream philosophical literature from the claim that correct usage of the mathematics of general relativity `blocks' the argument.

Quarantine and spatial distancing measures associated with COVID-19 resulted in substantial changes to individuals’ everyday lives. Prominent among these lifestyle changes was the way in which people interacted with media—including music listening. In this repeated assessment study, we assessed Australian university students’ media use throughout early stages of the COVID-19 pandemic in Australia, and determined whether media use was related to changes in life satisfaction. Participants were asked to complete six online questionnaires, capturing pre- and during-pandemic experiences. The results indicated (...) that media use varied substantially throughout the study period, and at the within-person level, life satisfaction was positively associated with music listening and negatively associated with watching TV/videos/movies. The findings highlight the potential benefits of music listening during COVID-19 and other periods of social isolation. (shrink)

The only obvious successor in our day to the philosophies of Jefferson and Emerson and Whitman is the "pragmatism" of William James and John Dewey. All of the critics from whose writings selections have been made for this volume agree that Pragmatism is an indigenous American philosophy; most of them would add that it is the philosophy which best expresses the "climate of opinion" peculiar to American civilization. Their criticisms, therefore, take two forms: they may argue that, granted pragmatism (...) is a native philosophy, it is but a partial and inadequate representation of certain trends within our culture; or they may contend that pragmatism is only too faithful a transcription of American life. Critics of the first sort will disparage those particular traits of our society which they think pragmatism represents; critics of the second kind will deliver a wholesale condemnation of"Americanism." In effect, therefore, all of these writers in their discussions of the pragmatic philosophy are censuring what is distinctive of American culture itself,in some of its aspects or as a whole. (shrink)

From a leading authority in artificial intelligence, this book delivers a synthesis of the major modern techniques and the most current research in natural language processing. The approach is unique in its coverage of semantic interpretation and discourse alongside the foundational material in syntactic processing.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 19-30 [Access article in PDF] Bugged Out:A Reflection on Art Experience Christopher Perricone I used to enjoy art. Not all the arts equally. Overall literature spoke to me most clearly. I am not sure exactly why. I guess some combination of inborn and learned dispositions. Whatever is the case, my enjoyment of literature always seemed natural to me, since literature was of (...) a medium I already knew, the vocabulary and grammar of my own language. But I enjoyed paintings and musical pieces as well, some of which I shall never forget even though they have virtually faded from my life, from what I have become.I cannot say that I ever had a favorite artwork. I have always thought the idea foolish, reminiscent of children who think often in terms of favorites, whether colors, candies, or friends. However, there are some works that do stand out in memory, even though, as I say, I cannot bring myself to enjoy them now. They are ghosts whose forms are discernible, but whose flesh is long gone.I had read lots of literature. I even enjoyed the act and the atmosphere of reading. I remember the chair I sat in, the lighting, the room. I also used to love to wake up on weekends, eat a leisurely breakfast, and then get back into bed and read until noon. Of course the setting itself of reading was ultimately not crucial, it was merely a pleasant means of facilitating one's excursion into another world. It was the other world that counted. So many worlds. Of course, I entered joyfully the worlds of Shakespeare and Dante, which Harold Bloom recently has judged at the center of the Western canon, but I entered also lesser but personally not less significant worlds to which I was drawn. 1 I needed some tutoring in Shakespeare and Dante because they did not quite speak my language, my twentieth-century American tongue. I had trouble negotiating their worlds. However, I had none whatsoever when it came to the worlds of James Joyce, Wallace Stevens, William Carlos Williams, Graham Greene, Walt Whitman, T.S.Eliot, Herman Melville, Emily Dickinson, or Joseph Conrad. I was at home in these worlds, different [End Page 19] worlds, but nonetheless home. I loved Conrad's the "Heart of Darkness." For me this was one of the truly haunting tales. After my first reading of the "Heart of Darkness," I can honestly say, my life was changed. I neither talked nor walked the same. I moved among and around people and things differently. I saw myself differently both among others and when I would stand before my mirror alone. And subsequent readings brought about further changes, changes of my comportment in the world. I imagined that I saw, heard, touched, tasted, and smelled the details from the beginning of that story to its very end. I sat on the deck of the Nellie with Marlow, Conrad's character narrator, and his listeners. I watched with them as the sun went down over the Thames. I followed Marlow as he told the story of how he had "set off for the center of the earth," up the Congo perhaps where in his mind all human life had its source; how as he came closer to the center facts became less straightforward, the greed for ivory, the "flavor of mortality in lies," the hollowness of Mr. Kurtz, the final horror of it all. I sweated in the heat of the "Heart of Darkness." Like any experience of a masterpiece, the "Heart of Darkness" was a visceral experience for me. After such experiences one feels emotionally and physically drained. One feels comfort in thinking, as with a dream, it was not real. And yet there is a lingering discomfort: as it were no mere fantasy at all.I often had feelings of the same intensity and profundity in respect to painting and music. They, too, were worlds for me. I enjoyed the varioustouches of the painters. In particular, I enjoyed the gold, the... (shrink)

In their upcoming article, Henk Jasper van Gils-Schmidt and Sabine Salloch highlight the supposed responsibilities of healthcare professionals in addressing the global health challenges posed by climate change. They argue that healthcare professionals’ duties to future generations and their ‘climate-related obligations’ have been neglected, primarily due to potential conflicts with other responsibilities, such as providing optimal care to current patients and maintaining patient trust. The authors suggest that these competing obligations should be viewed as part of the multifaceted identities individuals (...) hold, encompassing roles as both physicians and environmentalists, each with normative and competing commitments. They propose that a transformative shift in physicians’ professional ethos, expanding from the predominant focus on individual patients to include obligations towards climate protection, could pave the way for identifying effective mechanisms to address these challenges. While acknowledging the authors’ emphasis on sustainable healthcare practices, we argue that a duty to climate protection as part of healthcare professionals’ identity lacks ethical support. We identify serious concerns that stem from the transformative shift in physicians’ professional ethos, particularly in the authors’ presentation of reasons for action. First, envisaging a stable disposition that compels healthcare professionals to ensure optimal care conditions for both immediate and potential future encounters is unrealistic. Such a scenario would necessitate a nuanced and multifaceted evaluation, weighing …. (shrink)

This paper concerns the Russian émigrée translator and philosopher Natalie Duddington (1886–1972). By establishing Duddington’s dependence on Nicholas Lossky (1870–1965), the paper argues that Duddington formed a unique synthesis of Russian intuitivism and British realism in her essay ‘Our Knowledge of Other Minds’. Despite the historical significance of Duddington’s work, it will be concluded that her synthesis succumbs to the most recent criticism which has been posed against perceptualists such as Fred Dretske (1932–2013). Russian ‘intuitivism’ is understood here as the (...) school of thought that was first developed by Lossky and subsequently inherited by Duddington. ‘Perceptualism’ will be understood as the broad claim that we perceive the contents of another mind in an immediate way rather than infer them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bob Dylan’s “Highway Shoes” The Hobo-Hero’s Road through ModernityTodd Kennedy (bio)In the final verse of Bob Dylan’s “Don’t Think Twice, It’s Alright” (1963), the speaker proclaims, “I’m walkin’ down that long, lonesome road, babe / where I’m bound, I can’t tell.” With no destination in sight, he seems content to remain on a perpetual, isolated journey on what he terms “the dark side of the road.” Such an ethos (...) of movement, which permeates Dylan’s corpus, mirrors a dissident strain of American culture that seeks to find a Jeffersonian, individualistic freedom via movement through space outside of mainstream society. As early as Bringing It All Back Home (1965), peaking with Blood on the Tracks (1975), and persisting into his most recent work, Dylan has consistently merged aspects of blues, country, and literary traditions, to invoke images of mobility that examine individual freedom in a world where technology, fragmentation, and homogeneity seem to result in a destructive dehumanizing of individuals. In so doing, Dylan uses an intensely innovative aesthetic as he ambivalently romanticizes uprooted wandering in a manner that both mirrors and expands upon what I term an ontology of the hobo-hero that permeates American letters from Walt Whitman to John Dos Passos (and beyond) as it glorifies those who remain in constant motion in order to maintain a sense of integrated self in the face of crushing modernity.Gilles Deleuze and Félix Guattari similarly identify such an ontology within American culture when they, in A Thousand Plateaus, declare America a “special case” defined by its ceaseless search for a “rhizome,” or a “space in which two things that have nothing to do with one another form a parallel constructed by the mind. It is not imitation or resemblance, but becoming” (10). For Deleuze, Guattari, and, as I argue, Bob Dylan, the rhizome occupies a singular place within American letters. In other words, Deleuze and Guattari admit that America “is not immune from [...] the search for roots” in its “quest for a national identity or even for a European ancestry or genealogy (Kerouac going off in search for his ancestors),” yet they adamantly assert,every thing important that has happened or is happening takes the route of the American rhizome [...]. American books are different from European books, even when Americans set off in search of trees. The conception of the book is different. Leaves of Grass. And directions in America are different: the search for arborescence and the return to the Old World occur in the East. But there is the rhizomatic West, with its Indians without ancestry, its ever-receding limit, its shifting and displaced frontiers.(19) [End Page 37]Such an assertion should come as no surprise, I would argue, since, beginning with the earliest attempts to define “America,” Americans have seen their identity linked to mobility. In fact, the lone commonality that Americans share is descent from immigrants who came to the United States from a “home” or “homeland” where cultural identity was not far removed from national identity. It would stand to reason, therefore, that a group of uprooted individuals thrust into a self-declared melting pot would begin to define themselves by their dislocation. For instance, eighteenth-century French immigrant J. Hector St. John de Crèvecœur claimed that, within the American continent, “individuals of all nations are melted into a new race of men” (44) as America represents, for Crèvecœur, an “asylum” in which “the poor of Europe have by some means met together” (42). Crèvecœur proceeded to privilege those people, such as farmers, who planted “roots” as they helped to build and improve their society, but Crèvecœur’s assertion that we are united by our mutual uprootedness proves indicative of what critic Robert James Butler has observed as a recurrent American “quest for pure motion” (80, emphasis in original). Or, one encounters what the novelist John Steinbeck claimed he perceived in “nearly every American”: a “burning desire to go, to move, to get under way, anyplace, away from any Here” (10). It is such an attempt for perennial rebirth through movement, a rhizomatic selfhood, that... (shrink)

Alexis de Tocqueville asserted that America had no truly great literature, and that American writers merely mimicked the British and European traditions of the eighteenth and nineteenth centuries. This new edited collection masterfully refutes Tocqueville's monocultural myopia and reveals the distinctive role American poetry and prose have played in reflecting and passing judgment upon the core values of American democracy. The essays, profiling the work of Mark Twain, F. Scott Fitzgerald, John Updike, Edith Wharton, Walt Whitman, Henry James, Willa (...) Cather, Walker Percy, and Tom Wolfe, reveal how America's greatest writers have acted as society's most ardent cheerleaders and its most penetrating critics. Christine Dunn Henderson's exciting new work offers literature as a portal through which to view the philosophical principles that animate America's political order and the mores which either reinforce or undermine them. (shrink)

The epic wisdom contained in a lost library helps the author turn his life aroundIn American Philosophy, John Kaag--a disillusioned philosopher at sea in his marriage and career--stumbles upon a treasure trove of rare books on an old estate in the hinterlands of New Hampshire that once belonged to the Harvard philosopher William Ernest Hocking. The library includes notes from Whitman, inscriptions from Frost, and first editions of Hobbes, Descartes, and Kant. As he begins to catalog and preserve these priceless (...) books, Kaag rediscovers the very tenets of American philosophy--self-reliance, pragmatism, the transcendent--and sees them in a twenty-first-century context. Hocking was one of the last true giants of American philosophy. After studying under Harvard's Philosophical Four--William James, George Santayana, Josiah Royce, and George Herbert Palmer--he held the most prestigious chair at the university for the first three decades of the twentieth century. And when his teachers eventually died, he collected the great books from their libraries (filled with marginalia) and combined them with his own rare volumes at his family's estate. And there they remained for nearly eighty years, a time capsule of American thought. Part intellectual history, part memoir, American Philosophy is an invigorating investigation of American pragmatism and the wisdom that underlies a meaningful life. (shrink)

Providing the most thorough coverage available in one volume, this comprehensive, broadly based collection offers a wide variety of selections in four major genres, and also includes a section on film. Each of the five sections contains a detailed critical introduction to each form, brief biographies of the authors, and a clear, concise editorial apparatus. Updated and revised throughout, the new Fourth Edition adds essays by Margaret Mead, Russell Baker, Joan Didion, Annie Dillard, and Alice Walker; fiction by Nathaniel Hawthorne, (...) Ursula K. LeGuin, Anton Chekov, James Joyce, Katherine Mansfield, F. Scott Fitzgerald, William Faulkner, Alice Walker, Louise Erdrich, Donald Barthelme, and James McPherson; poems by John Donne, Robert Browning, Walt Whitman, Edwin Arlington Robinson, e.e. cummings, Langston Hughes, W.H. Auden, Philip Levine, and Louise Gluck; and plays by August Wilson, Marsha Norman, Wendy Wasserstein, and Vaclav Havel. The chapter devoted to film examines the relation of film to literature and gives the complete screenplay for Citizen Kane plus close analysis of a scene from the film. With its innovative structure, comprehensive coverage, and insightful and stimulating presentation of all kinds of literature, this is an anthology readers will turn to again and again. (shrink)

Georges Florovsky’s essay ‘On the Grounding of Logical Relativism’ has attracted attention from various theologians and students of Russian thought but has until now avoided a serious philosophical analysis and critique. The complex but thought-provoking essay presents Florovsky’s so-called logical relativism, a position which he seemed to maintain for the rest of his career. This paper will show that by conflating ‘scientific’ with ‘alethic’ relativism, Florovsky exposed himself to detrimental philosophical and theological critique. After some methodological remarks, the first part (...) of the paper will introduce Florovsky’s article, and present its central argument as a scientific relativism which is then conflated with a truly logical or alethic relativism. The second and third parts will highlight the philosophical and theological problems with Florovsky’s position. (shrink)

From Bishop Wilberforce in the 1860s to the advocates of "creation science" today, defenders of traditional mores have condemned Darwin's theory of evolution as a threat to society's values. Darwin's defenders, like Stephen Jay Gould, have usually replied that there is no conflict between science and religion--that values and biological facts occupy separate realms. But as James Rachels points out in this thought-provoking study, Darwin himself would disagree with Gould. Darwin, who had once planned on being a clergyman, was (...) convinced that natural selection overthrew our age-old religious beliefs. Created from Animals offers a provocative look at how Darwinian evolution undermines many tenets of traditional philosophy and religion. James Rachels begins by examining Darwin's own life and work, presenting an astonishingly vivid and compressed biography. We see Darwin's studies of the psychological links in evolution (such as emotions in dogs, and the "mental powers" of worms), and how he addressed the moral implications of his work, especially in his concern for the welfare of animals. Rachels goes on to present a lively and accessible survey of the controversies that followed in Darwin's wake, ranging from Herbert Spencer's Social Darwinism to Edward O. Wilson's sociobiology, and discusses how the work of such influential intellects as Descartes, Hume, Kant, T.H. Huxley, Henri Bergson, B.F. Skinner, and Stephen Jay Gould has contributed to--or been overthrown by--evolutionary science. Western philosophy and religion, Rachels argues, have been shaken by the implications of Darwin's work, most notably the controversial idea that humans are simply a more complex kind of animal. Rachels assesses a number of studies that suggest how closely humans are linked to other primates in behavior, and then goes on to show how this idea undercuts the work of many prominent philosophers. Kant's famous argument that suicide reduces one to the level of an animal, for instance, is meaningless if humans are, in fact, animals. Indeed, humanity's membership in the animal kingdom calls into question the classic notions of human dignity and the sacredness of human life. What we need now, Rachels contends, is a philosophy that does not discriminate between different species, one that addresses each being on an individual basis. With this sweeping survey of the arguments, the philosophers, and the deep implications surrounding Darwinism, Rachels lays the foundations for a new view of morality. Vibrantly written and provocatively argued, Created from Animals offers a new perspective on issues ranging from suicide to euthanasia to animal rights. (shrink)

A brief history of my opinions.--Tradition and practice.--The genteel tradition in American philosophy.--The moral background.--William James.--Josiah Royce.--Dewey's naturalistic metaphysics.--The genteel tradition at bay.--English liberty in America.--A letter to Logan Pearsall Smith.--America's young radicals.--Marginal notes on civilization in the United States.--Americanism.--From Dominations and powers.--What is a Philistine?--The elements and function of poetry.--Emerson.--Emerson the poet.--Walt Whitman: a dialogue.--The poetry of barbarism II: Walt Whitman.--Genteel American poetry.--A marginal note.--Letters.

Biodiversity is a valuable resource that supports sustainability within agricultural systems, yet in contradiction to this agriculture is recognised as a contributor to biodiversity loss. Agricultural advisory services are institutions that support sustainable agricultural development, employing a variety of approaches including farmer discussion groups in doing so. This study evaluates the impact of a farmland biodiversity management (FBM) communication strategy piloted within Irish farmer discussion groups. A sensemaking lens was applied in this objective to gain an understanding of how this (...) strategy could create an actionable space for FBM promotion amongst farmers. The strategy was piloted with six Irish dairy farmer discussion groups, after which focus groups were conducted with members of these groups. Additionally, baseline and endline surveys were completed by the members to determine their knowledge, attitude and on-farm practices relating to FBM. Analysis of the focus group data identified that the communication strategy supported the affordance of sensemaking with respect to FBM. Analysis of the data from the baseline and endline surveys relating to knowledge, attitudes and practices found that engaging with the communication strategy promoted farmers to improve their attitude in relation to FBM. Results from this study provide important lessons for agricultural advisory services to support farmers in incorporating FBM into the overall management of their farms and, in turn, to promote the improvement of farmland biodiversity and contribute to a sustainable future. (shrink)

Alexis de Tocqueville asserted that America had no truly great literature, and that American writers merely mimicked the British and European traditions of the eighteenth and nineteenth centuries. This new edited collection masterfully refutes Tocqueville's monocultural myopia and reveals the distinctive role American poetry and prose have played in reflecting and passing judgment upon the core values of American democracy. The essays, profiling the work of Mark Twain, F. Scott Fitzgerald, John Updike, Edith Wharton, Walt Whitman, Henry James, Willa (...) Cather, Walker Percy, and Tom Wolfe, reveal how America's greatest writers have acted as society's most ardent cheerleaders and its most penetrating critics. Christine Dunn Henderson's exciting new work offers literature as a portal through which to view the philosophical principles that animate America's political order and the mores which either reinforce or undermine them. (shrink)

The current legal status and medical ethics of routine or religious penile circumcision of minors is a matter of ongoing controversy in many countries. We focus on the United Kingdom as an illustrative example, giving a detailed analysis of the most recent British Medical Association guidance from 2019. We argue that the guidance paints a confused and conflicting portrait of the law and ethics of the procedure in the UK context, reflecting deeper, unresolved moral and legal tensions surrounding child genital (...) cutting practices more generally. Of particular note is a lack of clarity around how to apply the “best interests” standard—ordinarily associated with time-sensitive proxy decision making regarding therapeutic options for a medically unwell patient—to a parental request for a medically unnecessary surgery to be carried out on the genitalia of a healthy child. Challenges arise in measuring and assigning weights to intended sociocultural or religious/spiritual benefits, and even to health-related prophylactic benefits, and in balancing these against potential physical, functional, and psychosexual risks or harms. Also of concern are apparently inconsistent safeguarding standards being applied to children based on their birth sex categorization or gender of rearing. We identify and discuss recent trends in British and international medical ethics and law, finding gradual movement toward a more unified standard for evaluating the permissibility of surgically modifying healthy children's genitals before they can meaningfully participate in the decision. (shrink)

Several recent studies have returned to the famous controversy over the reception of Nietzsche’s Birth of Tragedy from the Spirit of Music. By reinterpreting it within the immediate context of Germany in the early 1870s, James Whitman understands this controversy as a Methodenstreit within Classical Philology and James I. Porter claims that, through this controversy, Nietzsche developed an extensive critique of modern culture. I contend that Nietzsche’s reaction to the scholarly rejection of his first publication resulted in no (...) immediate response on his behalf; rather, it led to three years of intense rethinking and strengthening of the position he took in The Birth of Tragedy. This is evidenced in his early published essays and notebooks of 1872–1875. From the first readers of these early notebooks, Karl Schlechta and Anni Anders, to its most recent interpreters, Richard T. Grey and Alexander Nehamas, these scholars are unanimous in understanding them as Nietzsche’s attempt to work through.. (shrink)

Physical and biological measurements might display range values extending towards infinite. The occurrence of infinity in equations, such as the black hole singularities, is a troublesome issue that causes many theories to break down when assessing extreme events. Different methods, such as re-normalization, have been proposed to avoid detrimental infinity. Here a novel technique is proposed, based on geometrical considerations and the Alexander Horned sphere, that permits to undermine infinity in physical and biophysical equations. In this unconventional approach, a continuous (...) monodimensional line becomes an assembly of countless bidimensional lines that superimpose in quantifiable knots and bifurcations. In other words, we may state that Achilles leaves the straight line and overtakes the turtle. (shrink)

In his lifetime, Ralph Waldo Emerson became the most widely known man of letters in America, establishing himself as a prolific poet, essayist, popular lecturer, and an advocate of social reforms who was nevertheless suspicious of reform and reformers. Emerson achieved some reputation with his verse, corresponded with many of the leading intellectual and artistic figures of his day, and during an off and on again career as a Unitarian minister, delivered and later published a number of controversial sermons. Emerson’s (...) enduring reputation, however, is as a philosopher, an aphoristic writer (like Friedrich Nietzsche) and a quintessentially American thinker whose championing of the American Transcendental movement and influence on Walt Whitman, Henry David Thoreau, William James, and others would alone secure him a prominent place in American cultural history. (shrink)

Reviewing works by James Alison, Alistair McFadyen, Andrew Sung Park, Ted Peters, and Solomon Schimmel, the author suggests that the status and function of the discourse/doctrine of sin highlight tensions between theology and ethics in ways that suggest the character, limits, and promise of religious ethics. This literature commends attention to sin-talk because it helps religious ethicists to render more adequately the dynamics of human agency, sociality, and culture and because it raises questions about the nature and task of (...) theology, faith, and morality. Yet these volumes also indicate that religious ethics should pay more attention to particular sins. (shrink)