This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Dualism and monism.--History, and the history of philosophy.--The theism of Wordsworth.

The central concern of this paper is to prove that Blake and Wordsworth, in spite of some revealing differences between them, essentially share the same world view. Before showing how this works, we first of all should discuss, however briefly, the main difference between them.The main difference between Blake and Wordsworth is perhaps discernible in the way they respond to Nature or the physical frame of things. Here, their remarks on each other would be quite illuminating. Though there (...) is no evidence that they knew each other personally, there is concrete proof that they read some of one another's works and even commented on them. Three sources immediately come to mind in this regard: first, there is Samuel Palmer's anecdote that Wordsworth borrowed a copy of Blake's Songs of Innocence and of Experience from a friend that “he read and read and took … home to read again”; second, we have Blake's 1826 annotations to the poems of Wordsworth contained in Keynes' Nonesuch Edition of Blake; third, there is Henry Crabb Robinson's Diary, Reminiscences, and Correspondence. (shrink)

As the essays in this book attest, in a time of specialization John McCormick chose diversification, a choice determined by a life spent in many occupations and many countries. After his five years in the U. S. Navy in the Second World War, the academy beckoned by way of the G. I. Bill, graduate training, and a career in teaching. Prosperity in the American university at the time meant setting up as a "Wordsworth man," a "Keats man," or (...) a "Dr. Johnson man": all chilling to the author. He chose self-exile in which he disguised himself as an "Americanist" saleable in Europe, and lectured happily in comparative studies: literature, history, and philosophy. Thus the broad range of this volume, both in subject matter and in the span of time it covers. The essays are divided into three sections. First are general and personal essays on a variety of topics, followed by work on individual writers, and third, writings on criticism and theory. A section on Santayana reflects his eight years of research for Santayana's biography. The writings on Spain and toreo result from another long-held interest, together with the author's attempt to alter some of the romantic nonsense about the running of the bulls in Pamplona, too often the entire substance of what the general public knows about Spain. McCormick has long been convinced that without knowledge of bullfighting, the foreigner cannot comprehend arcane and wonderful aspects of the Spanish character. The coda, "Another Music," is an old man's attempt to solve the mysterious algebra of how the world turns now, and how the young appear to the aged. While the volume is diverse in its range of writers--from Whitman in America to Santayana in Europe, taken as a collectivity, these essays provide a sense of the grandeur as well as the decadent in twentieth century politics and aesthetics alike. Written with the literary taste and political non-conformity that still characterizes McCormick, the volume is a treat for the specialist and for the generalist. John McCormick was professor of American Studies in the Free University, Berlin, and is at present professor emeritus of comparative literature at Rutgers University. He is the author of Bullfighting, American and European Literary Imagination, Catastrophe and Imagination, Fiction as Knowledge, George Santayana and Seagoing. (shrink)

"Hard task to analyze a soul. . . ." We would do well to let Wordsworth's comment guide our questioning. Have we avoided "a mystical and idle sense" of an influence? Have we lost our way tracking the "most obvious and particular thought?" Have our conclusions been "in the words of reason deeply weighed?" We might well wonder with such a supreme influence on a life that is firmly stamped by independence and originality, a source of an immense influence (...) in itself. [G. E.] Moore's philosophy provided the young [I. A.] Richards with terms and concepts for his psychological aesthetics and criticism, though Richards was not long in reacting to and passing beyond this influence. More enduring was the influence on the nature of meaning, on modes of comprehending through language analysis—more enduring and pervasive, though less traceable. Then, there is Moore's example of employing multiple hypotheses to which, in his application, Richards would give the name of complementarity. Lastly, Moore's personal influence reached deeply into the student's character, and if the influence did not initiate, it fortified and still fortifies a quest for sincerity, a Socratic quest for which we can scarcely find a "beginning." John Paul Russo is associate professor of English at Camden College, Rutgers University, the editor of I. A. Richards' Complementarities: Uncollected Essays, and the author of Alexander Pope: Tradition and Identity. (shrink)

Eighteenth-Century english scientists, Poets, And philosophers extended the meaning of 'distance' beyond a concept of space and time to include psychological and aesthetic meanings. Berkeley (1709), Priestley (1772), And thomas wedgwood (1818) showed that it was not a self-Evident idea but a complex intellectual construction. The poets denham (1655), Pope (1711), Dyer (1726), Collins (1747), Gray (1747), Campbell (1799) and wordsworth (1805-1827) used distance to represent a mental perspective, An aesthetic attitude, Nostalgia, Hope, Fancy, And imagination. Hume (1739), Hartley (...) (1749), Adam smith (1761), Burke (1757), And blair (1783) discussed early versions of aesthetic distance. The expanding meaning of 'distance' corresponds with the changing understanding of space and time in the philosophies of locke, Hume, And kant. Distance provided the eighteenth century with a means of exploring the relationship between subjective and objective realms of experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Romanticism and Coleridge’s Idea of HistoryMichael John Kooy*Romantic historiography is widely understood in methodological terms as a subjectively determined treatment of the human past, according to which historical knowledge is grounded in imaginative activity. That ambition was amply fulfilled in Scott’s historical novels, as Georg Lukacs once demonstrated. 1 Writing in broader terms, Hayden White characterized that whole creative enterprise as an “effort at palingenesis,” the striving to (...) recreate or relive the past in individual consciousness. 2In more recent years, as the approach to the period has become more historicist, criticism has begun to separate the historical and the aesthetic aspects of this romantic sensibility, usually emphasizing one at the expense of the other. The result has been a standoff in critical thinking about the way Romanticism represents the past. One side is occupied by some new historicists who claim to find a precedent for their own methodology among prominent figures of the period. Heyne, Wordsworth, and Keats, it turns out, not only were engaged actively in their own contemporary history, but they also demonstrated in their sophisticated evocation of the past the impossibility of overcoming historical difference by reference to natural law. 3 Arguments advanced on the other side of the controversy insist that the Romantics were not nearly such good historicists as supposed. In these accounts, often allied to post-structuralism, the aesthetic absolutism implicit in the high romantic argument is undiminished by the burgeoning historical consciousness in the period. Indeed, Romanticism’s aesthetic [End Page 717] retrieval of the past appears to be an instance of how subjectivity, rather than admit its own historicity, again asserts mastery over the object through its own self-will. 4Each of these accounts commands a considerable following, and a peace between them seems unlikely, indeed undesirable. On one matter they do agree, though, and that is in their distrust of Coleridge. His historiography—the notion that ideas make history and that the way to get at these ideas is aesthetically—is too idealist for today’s historicists and too monumentally subjective for the post-structuralists. I think both judgments are hasty. Coleridge, more than most contemporaries, reflected for many years upon the difficulties that arose in his own attempts to interpret historical knowledge (which appeared as a subjective, aesthetic construct) in systematic terms (as the reflection of natural order); and a good look at the record will show that his thought is not quite so anti-historical as some believe, and his subjective approach not nearly so absolutist.The goal of this essay is to rehabilitate Coleridge’s idea of history, considering what it tells us about Romanticism and how it foreshadows current debates about methodology. 5 More specifically, I want to show how in different contexts Coleridge treats, with varying degrees of success, history as an ideational field that is both created and then interpreted by an inquiring subject. First, at the literary and cultural level, history is conceived as the object of imaginative reconstruction, where subjectivity provisionally orders the mass of material according to an idea found nowhere within history itself. Here the anti-positivist bias of Coleridge’s idealist historiography dominates a project that is, both in orientation and achievement, not so much cognitive as aesthetic. Secondly, at the level of religion, history is conceived in mythic terms, the past being revealed only symbolically to the discerning inquirer who must interpret the Christian mythos as recorded in the inspired biblical account of the nation of Israel. Here it is the application of certain interpretive or hermeneutic strategies that determines success or failure. Finally, as a single idea, history is conceived as the process of humanity seeking consciousness of itself, and this Coleridge expresses in a narrative of universal proportions, beginning in apostasy and ending in grace. Here teleology dominates, but as Coleridge discovers, this providential [End Page 718] history is a story that cannot be fully told, thought, or even, it turns out, imagined. It can only be postulated as an idea of reason or, in religious terminology, held as an article of faith. In a curious return to aesthetics Coleridge argues that for the grand historical narrative, just as for art... (shrink)

Mary Wyman sets out to show the affinity between the philosophy of Whitehead and the views of a large number of poets, including certain Chinese mystics, Goethe, Emerson, Whitman, and Wordsworth. That there are such affinities is, of course, well-known and the author does succeed in elaborating them in a thorough and often interesting manner. The danger in such works is a too-systematic and superficial interpretation of one author in terms of another. It is perhaps the greatest merit of (...) her book that Miss Wyman is aware of this danger and constantly strives to avoid it. (shrink)

In this sweeping revision of avant-garde history, John Cage takes his rightful place as Wordsworth's great and final heir. George Leonard traces a direct line back from Cage, Pop, and Conceptual Art through the Futurists to Whitman, Emerson, Ruskin, Carlyle, and Wordsworth, showing how the art of everyday objects, often thought an exclusively contemporary phenomenon, actually began as far back as 1800. In recovering the links between such seemingly disparate figures, Leonard transforms our understanding of modern culture. (...) Selected by the American Library Association's journal, _Choice_, as "one of the Outstanding Academic Books of the Year" "Leonard's book is a fine example of interdisciplinary studies. He shifts focus persuasively from art theory to literature to religious thought and biography, making his method seem the natural mode of inquiry into culture."—Kenneth Baker, _San Francisco Chronicle Book Review_ "Provocative and illuminating."—_Library Journal_ "Highly stimulating, impassioned."—_Publisher's Weekly_ "A rich and rewarding study written in a clear and accessible style with excellent references and a very useful index. Highly recommended."—_Choice_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:186 HISTORY OF PHILOSOPHY direction and made meaningful, whereas for Fichte they are the cognitively recognized goals of human activity. Nonetheless, I still find Lacroix' thoroughgoing teleological interpretation of Kant a bit bothersome, at points strained, although there is little doubt that teleology plays a large part in Kant's thought with respect to the realm of reason. Moreover, I'm not convinced that Kant's thought is as unified and internally (...) consistent as Lacroix would like to find it. In all fairness, however, it should be mentioned that he does not ignore the inconsistencies in Kant's thought. Lacroix' Kant interpretation certainly warrants serious consideration, for it has at least two outstanding features: It makes Kant's doctrine of the noumenal realm much more palatable than most other interpretations. Secondly, it goes a long way toward drawing out the full significance of Kant's comment, "I have therefore found it necessary to deny knowLedr in order to make room for jaith." And it is only by bringing out the significance of this statement that Kant's work can be shown to be primarily metaphysical in intention. Finally, the work's greatest virtue may be that it pulls the shroud of formalism off Kant's thought and shows it to possess a dynamic concern for living man, a concern that few, if any, have seen in it before. Incidentally, Lacroix' book is full of observations on the reception and interpretation of Kant's thought by various twentieth-century French philosophers, and these offer some nice insights into the different directions French thought is taking today. TED B. HUMPHREY Arizona State University Wordsworth--A Philosophical Approach. By Melvin Rader. (Oxford: The Clarendon Press, 1967. Pp. x -4-217.38s.) Wordsworth's poems have brought tears to many a rational mind, but Melvin Rsder manages to keep sane and sober while he expounds the poet's ideas in plain prose and interprets critically the wealth of feeling, imagination, metaphor and myth in which the ideas are clothed. This rendering of Wordsworth's mind is eloquent in its own way, sad performs a useful service to readers who are apt to miss the train of thought within the flow of poetry and of communion with the landscapes of the English Lakes. The analysis shows how, after an early enthusiasm for Locke's and Hartley's "chemistry" of experience, the poet expresses philosophically dimensions of human nature and experience that had been neglected by the more clinical models of "association~sm." Wordsworth's own statement reveals this aspect of his thinking: "Imagination...is that chemical faculty by which elements of the most different nature and distant origin are blended together into one harmonious and homogeneous whole" (p. 139). Here the words "different" and "d'tstant," as Racier points out, exclude the types of association by resemblance and contiguity that are basic to Locke and Hartley. The hberation of Coleridge, and the imaginative transcendence of Wordsworth from these limitations of rationalistic empiricism is a major theme of Rader's work. However, Ruder shows that much of Wordsworth's naturalism is traceable to Hartley's influence. Cudworth's "dynamic idealism" which pictured nature as alive and insisted on the power of ideas, was another major source. Shaftesbury's analysis of the emotional aspects of human nature which his tutor, John Locke, excluded from his Essay because they are not in "the understanding" was also an inspiration to Wordsworth. The definite conversion to transcendentalism was completed by the Kantian romanticists, who suggested to Coleridge that the categorical imperative could be transformed into an a pr/or/gospel. The subsequent divergence of Coleridge and Wordsworth is described in detail by Ruder, and reveals the fact that naturalism retained a stronger hold on Wordsworth than it did on Coleridge. Wordsworth did not follow Coleridge into his romantic spiritual nationalism, but developed a nature-mysticism and "animism" (to use Rader's term). Though this mysticism is not an articulate philosophy, Rader follows it with sympathy and under- BOOK REVIEWS 187 standing. He picks his way philosophicelly ~darough the many preludes, interludes and epilogues of the long, autobiographical poem, The Prelude. He succeeds in interpreting philosophically.Wordsworth's absorption in "the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:186 HISTORY OF PHILOSOPHY direction and made meaningful, whereas for Fichte they are the cognitively recognized goals of human activity. Nonetheless, I still find Lacroix' thoroughgoing teleological interpretation of Kant a bit bothersome, at points strained, although there is little doubt that teleology plays a large part in Kant's thought with respect to the realm of reason. Moreover, I'm not convinced that Kant's thought is as unified and internally (...) consistent as Lacroix would like to find it. In all fairness, however, it should be mentioned that he does not ignore the inconsistencies in Kant's thought. Lacroix' Kant interpretation certainly warrants serious consideration, for it has at least two outstanding features: It makes Kant's doctrine of the noumenal realm much more palatable than most other interpretations. Secondly, it goes a long way toward drawing out the full significance of Kant's comment, "I have therefore found it necessary to deny knowLedr in order to make room for jaith." And it is only by bringing out the significance of this statement that Kant's work can be shown to be primarily metaphysical in intention. Finally, the work's greatest virtue may be that it pulls the shroud of formalism off Kant's thought and shows it to possess a dynamic concern for living man, a concern that few, if any, have seen in it before. Incidentally, Lacroix' book is full of observations on the reception and interpretation of Kant's thought by various twentieth-century French philosophers, and these offer some nice insights into the different directions French thought is taking today. TED B. HUMPHREY Arizona State University Wordsworth--A Philosophical Approach. By Melvin Rader. (Oxford: The Clarendon Press, 1967. Pp. x -4-217.38s.) Wordsworth's poems have brought tears to many a rational mind, but Melvin Rsder manages to keep sane and sober while he expounds the poet's ideas in plain prose and interprets critically the wealth of feeling, imagination, metaphor and myth in which the ideas are clothed. This rendering of Wordsworth's mind is eloquent in its own way, sad performs a useful service to readers who are apt to miss the train of thought within the flow of poetry and of communion with the landscapes of the English Lakes. The analysis shows how, after an early enthusiasm for Locke's and Hartley's "chemistry" of experience, the poet expresses philosophically dimensions of human nature and experience that had been neglected by the more clinical models of "association~sm." Wordsworth's own statement reveals this aspect of his thinking: "Imagination...is that chemical faculty by which elements of the most different nature and distant origin are blended together into one harmonious and homogeneous whole" (p. 139). Here the words "different" and "d'tstant," as Racier points out, exclude the types of association by resemblance and contiguity that are basic to Locke and Hartley. The hberation of Coleridge, and the imaginative transcendence of Wordsworth from these limitations of rationalistic empiricism is a major theme of Rader's work. However, Ruder shows that much of Wordsworth's naturalism is traceable to Hartley's influence. Cudworth's "dynamic idealism" which pictured nature as alive and insisted on the power of ideas, was another major source. Shaftesbury's analysis of the emotional aspects of human nature which his tutor, John Locke, excluded from his Essay because they are not in "the understanding" was also an inspiration to Wordsworth. The definite conversion to transcendentalism was completed by the Kantian romanticists, who suggested to Coleridge that the categorical imperative could be transformed into an a pr/or/gospel. The subsequent divergence of Coleridge and Wordsworth is described in detail by Ruder, and reveals the fact that naturalism retained a stronger hold on Wordsworth than it did on Coleridge. Wordsworth did not follow Coleridge into his romantic spiritual nationalism, but developed a nature-mysticism and "animism" (to use Rader's term). Though this mysticism is not an articulate philosophy, Rader follows it with sympathy and under- BOOK REVIEWS 187 standing. He picks his way philosophicelly ~darough the many preludes, interludes and epilogues of the long, autobiographical poem, The Prelude. He succeeds in interpreting philosophically.Wordsworth's absorption in "the... (shrink)

Selected by the American Library Association's journal, Choice, as "one of the Outstanding Academic Books of the Year" "Leonard's book is a fine example of interdisciplinary studies.

Originally published in 1980, this is a study of the 'romanticism' of Coleridge and Wordsworth. Their concern with creativity, and the conditions that helped or hindered their own artistic development, produced a new concept of mental growth - a 'modern' view of the mind as organic, active, and unifying. In particular, we see how their aesthetics evolved from a personal and intuitional need to reaffirm 'value' in their own lives. Their discovery of the fundamental ambiguity of such intuition is (...) discussed in relation to some ideas of Empson, Gombrich, and Ehrenzweig. As well as an essay in criticism, this is a contribution to the history of ideas, drawing together points in the background of philosophical and psychological theory from Hartley and Wesley to John Stuart Mill. Since many of our ideas about imagination, symbolism, and creativity are ultimately derived from Coleridge and Wordsworth, this is a book for students of romantic and modern literature. (shrink)

In his preface Mr Wilson writes 'I feel that a great many adults … would do better to spend less time in simply accepting the concepts of others uncritically, and more time in learning how to analyse concepts in general'. Mr Wilson starts by describing the techniques of conceptual analysis. He then gives examples of them in action by composing answers to specific questions and by criticism of quoted passages of argument. Chapter 3 sums up the importance of this kind (...) of mental activity. Chapter 4 presents selections for the reader to analyse, followed by questions of university entrance/scholarship type. This is a book to be worked through, in a sense a text-book. (shrink)

In this philosophically sophisticated and historically significant work, John H. Zammito reconstructs Kant's composition of The Critique of Judgment and reveals that it underwent three major transformations before publication. He shows that Kant not only made his "cognitive" turn, expanding the project from a "Critique of Taste" to a Critique of Judgment but he also made an "ethical" turn. This "ethical" turn was provoked by controversies in German philosophical and religious culture, in particular the writings of Johann Herder and (...) the Sturm und Drang movement in art and science, as well as the related pantheism controversy. Such topicality made the Third Critique pivotal in creating a "Kantian" movement in the 1790s, leading directly to German Idealism and Romanticism. The austerity and grandeur of Kant's philosophical writings sometimes make it hard to recognize them as the products of a historical individual situated in the particular constellation of his time and society. Here Kant emerges as a concrete historical figure struggling to preserve the achievements of cosmopolitan Aufkl-rung against challenges in natural science, religion, and politics in the late 1780s. More specifically Zammito suggests that Kant's Third Critique was animated throughout by a fierce personal rivalry with Herder and by a strong commitment to traditional Christian ideas of God and human moral freedom. "A work of extraordinary erudition. Zammito's study is both comprehensive and novel, connecting Kant's work with the aesthetic and religious controversies of the late eighteenth century. He seems to have read everything. I know of no comparable historical study of Kant's Third Critique."-Arnulf Zweig, translator and editor of Kant's ;IPhilosophical Correspondence, 1759-1799;X "An intricate, subtle, and exciting explanation of how Kant's thinking developed and adjusted to new challenges over the decade from the first edition of the Critique of Pure Reason to the appearance of the Critique of Judgment. "--John W. Burbidge, Review of Metaphysics "There has been for a long time a serious gap in English commentary on Kant's Critique of Judgment Zammito's book finally fills it. All students and scholars of Kant will want to consult it."--Frederick Beiser, Times Literary Supplement. (shrink)

Setting the scene -- Sentience and the sentient mind -- Special senses and their interpretation Survival strategies -- Social strategies -- Animals of the waters -- Animals of the air -- Animals of the savannah and plains -- Animals of the forests -- Close neighbours -- Our duty of care.

Are theories ‘underdetermined by the evidence’ in any way that should worry the scientific realist? I argue that no convincing reason has been given for thinking so. A crucial distinction is drawn between data equivalence and empirical equivalence. Duhem showed that it is always possible to produce a data equivalent rival to any accepted scientific theory. But there is no reason to regard such a rival as equally well empirically supported and hence no threat to realism. Two theories are empirically (...) equivalent if they share all consequences expressed in purely observational vocabulary. This is a much stronger requirement than has hitherto been recognised— two such ‘rival’ theories must in fact agree on many claims that are clearly theoretical in nature. Given this, it is unclear how much of an impact on realism a demonstration that there is always an empirically equivalent ‘rival’ to any accepted theory would have—even if such a demonstration could be produced. Certainly in the case of the version of realism that I defend—structural realism—such a demonstration would have precisely no impact: two empirically equivalent theories are, according to structural realism, cognitively indistinguishable. (shrink)

Obviously medicine should be evidence-based. The issues lie in the details: what exactly counts as evidence? Do certain kinds of evidence carry more weight than others? (And if so why?) And how exactly should medicine be based on evidence? When it comes to these details, the evidence-based medicine (EBM) movement has got itself into a mess – or so it will be argued. In order to start to resolve this mess, we need to go 'back to basics'; and that means (...) turning to the philosophy of science. The theory of evidence, or rather the logic of the interrelations between theory and evidence, has always been central to the philosophy of science – sometimes under the alias of the 'theory of confirmation'. When taken together with a little philosophical commonsense, this logic can help us move towards a position on evidence in medicine that is more sophisticated and defensible than anything that EBM has been able so far to supply. (shrink)

Man controls and dominates the habitat of most animals, both domestic and wild and there is a need for a pragmatic, workable approach to the problem of reconciling animal welfare with economic forces and the needs of man. It is the author's contention that much of the current philosophical discussion of animal welfare is misdirected now that it is possible to measure to some extent what animals think and feel and how much they can appreciate their quality of life. The (...) book deals with farm animals, pets, wild animals and laboratory animals and dicusses their environmental requirements, fear and stress, their response to pain, injury, disease and death, behaviour and aggression, and the implications of biotechnology and genetic engineering. Finally, the book tries to reconcile reverence for life with the inescapability of killing and reviews the prospects of preserving and enhancing quality of life for animals through legislations, education, economic and moral incentives. (shrink)

Foreword I. Critical rationalism is a genuinely new philosophical perspective. It is not, however, one systematic view. The development of it by Popper and ...

I argue that incomprehensibility (what the ancient skeptics called acatalepsia) plays a central role in the skepticism of both Bayle and Hume. I challenge a commonly held view (recently argued by Todd Ryan) that Hume, unlike Bayle, does not present oppositions of reason--what Kant called antimonies.

Everyone loves something or somebody, and most people are concerned with loving another person like themselves, all equal. This book is based on the belief that getting clear about the concept and meaning of love between equals is essential for success in our practical lives. For how can we love properly unless we have a fairly clear idea of what love is? The book is written in ordinary language and for the ordinary person, without jargon or philosophical technicalities. It aims (...) to show that love between equals involves a single basic disposition, though that disposition expresses itself in various ways. Thus, after an introduction explaining the need for analysis and clarification, the author then deals in order with love as desire or need; with intrinsic friendship and sharing the self; with basic difficulties concerning power, dependence, altruism and paranoia; with sex and erotic love; and finally with the value in human life of love between equals. The work as a whole gives clear, coherent and practical guidance for all who wish to grasp what such love is really like. (shrink)

How do we acquire thoughts and beliefs about particulars by looking at pictures? One kind of reply essentially compares depiction to perception, holding that picture-perception is a form of remote object-perception. Lopes’s theory that pictures refer by demonstrative identification, and Walton’s transparency theory for photographs, constitute such remote acquaintance theories of depiction. The main purpose of this paper is to defend an alternative conception of pictures, on which they are not suitable for acquainting us with particulars but for acquainting us (...) with certain kinds of properties. This conception is outlined in §4, where it is argued that pictures are useful devices for what Heal has called indexical predication. In §2 and §3, I explain why I believe that remote acquaintance theories are false, and why picture-perception cannot function as a form of extended or remote object-perception. The main reason is that the contents of picture-perceptions do not themselves provide the kind of numerical and contextual information required for singular thought. Picture-reference is instead secured by independent beliefs or linguistic communication about the causal history of pictures as objects. In other words, it is beliefs about the numerical identity of pictures as objects that anchors the reference of the representational contents of pictures. (shrink)

1. 1735-1738 -- 2. 1738-1743 -- 3. 1743-1754 -- 4. 1755-1765 -- 5. 1765-1775 -- 6. 1776-1786 -- 7. 1787-91.

Whiskey Lao -- Fair warning -- Randomness at large -- We the addicted -- The best possible world -- The importance of being doomed -- Moral responsibility -- The upper limit to the value of possible worlds.

This book investigates the central role of reason in Islamic intellectual life. Despite widespread characterization of Islam as a system of belief based only on revelation, John Walbridge argues that rational methods, not fundamentalism, have characterized Islamic law, philosophy and education since the medieval period. His research demonstrates that this medieval Islamic rational tradition was opposed by both modernists and fundamentalists, resulting in a general collapse of traditional Islamic intellectual life and its replacement by more modern but far shallower (...) forms of thought. However, the resources of this Islamic scholarly tradition remain an integral part of the Islamic intellectual tradition and will prove vital to its revival. The future of Islam, Walbridge argues, will be marked by a return to rationalism"--Provided by publisher. (shrink)