This essay argues for the fruitfulness of Beck’s idea of cosmopolitanism for understanding the changing political, sociological and psychological attributes of climate change. This argument is illustrated through brief examinations of how climate change is contributing to the dissolution of three modern dualisms: nature-culture, present-future and global-local. Not only does the cosmopolitan perspective help to understand the ways in which science and society are mutually constructing the phenomenon of climate change, it also offers us a way of asking ‘what can (...) climate change do for us?’ rather than ‘what can we do for climate change?’ Sociologists are needed for answering this question. (shrink)

This is the first collected edition of the writings of the poet, critic, and philosopher T.E. Hulme (1883-1917). Hulme wrote some of the first "modernist" poems in English, helped introduce the philosophy of Henri Bergson to Britain and the U.S., and was one of the first English critics to write about modern art. This edition contains extensive notes to Hulme's writings, together with a substantial biographical and critical introduction.

Ancient Athenian women worked in industries ranging from woolworking and food sales to metalworking and medicine; Socrates’ mother was a midwife. The argument for the inclusion of women in the guardian class must be read in light of this historical reality, not least because it allows us retain an important manuscript reading and construe the passage as relying on an inductive generalization rather than a possibly circular argument. Ultimately, Plato fails to fully capitalize on the resources he has for a (...) more egalitarian conclusion than the one he settles on, which regards women as “lesser than” yet “similar to” men. (shrink)

This volume presents a collection of 16 essays on philosophy, war, modern art, and poetry, the Hulme-Bertrand Russell controversy on pacifism and war, Hulme's "Diary from the Trenches," and some 200 lines of poetry. This is the first publication anywhere of the diary, and only one of the essays has been previously published in the United States. The book also includes an extensive critical introduction by the editor, a complete bibliography of Hulme's writings, and a selected bibliography (...) of criticism of Hulme.Especially significant are the six essays on war, to which are added Bertrand Russell's two rejoinders. These essays will modify considerably the popular notion that Hulme was an unqualified exponent of militarism and a "proto-Fascist." The two essays on poetry establish Hulme's place in the history of modern poetic theory. (shrink)

This volume presents a collection of 16 essays on philosophy, war, modern art, and poetry, the Hulme-Bertrand Russell controversy on pacifism and war, Hulme's "Diary from the Trenches," and some 200 lines of poetry. This is the first publication anywhere of the diary, and only one of the essays has been previously published in the United States. The book also includes an extensive critical introduction by the editor, a complete bibliography of Hulme's writings, and a selected bibliography (...) of criticism of Hulme.Especially significant are the six essays on war, to which are added Bertrand Russell's two rejoinders. These essays will modify considerably the popular notion that Hulme was an unqualified exponent of militarism and a "proto-Fascist." The two essays on poetry establish Hulme's place in the history of modern poetic theory. (shrink)

Between 1909 and his death in battle in 1917, T.E. Hulme published on a wide variety of artistic, cultural, philosophical and political issues. He wrote poems, and lectured on poetry and poetic theory; he wrote chronicles, reviews, letters, essays and translations. Hulme's importance within Modernism was recognized by figures such as Ezra Pound, and he has been described as the father of Imagism. This book presents a selection of Hulme's most important work, the collected poems, and an (...) introduction re-examining Hulme's intellect in its historical context, apprasing too his legacy. (shrink)

We agree that the relationship between phenomenology and accessibility can be fruitfully investigated via meshing, but we want to emphasise the importance of proper comparison between meshes, as well as considerations that make comparison especially difficult in this domain. We also argue that Block's interpretation of the neural data in his exemplar mesh is incorrect, and propose an alternative.

Miller first examines the New Critics’ theory of metaphor, then presents his own views. There is one chapter on Hulme and Richards, one on Empson, Tate, Ransom and Brooks, and a third on Wimsatt, Wheelwright, and Krieger. Chapter Four contains Miller’s position and applies it to some metaphors from the metaphysical poets, and Chapter Five examines the problem of the objective status of a work of verbal art. Miller uses Richards’ distinction between the tenor and vehicle of a metaphor; (...) in "My love is a red, red rose," "love" is the tenor and "rose" the vehicle, and a metaphor occurs only in the tense convergence of tenor and vehicle. With this formal scheme he defines surface and submerged metaphors—the former having both elements stated, the latter having the tenor unstated but implied; Miller distinguishes these from moribund metaphors, like the "foot" of a mountain, in which the appropriate tenors are forgotten, not submerged. He distinguishes positive and negative metaphor, depending upon the emphasis the metaphor places on either the fusion or the resistance between tenor and vehicle, for both forces must operate within a lively metaphor. He distinguishes simple, complex and compound metaphors, to the extent that tenor and vehicle are either simple terms or else contain, each or both of them, metaphors inside themselves. In the case of compound metaphors, sometimes the vehicle can be submerged, and if the critic can find what the vehicle is, the poetic passage acquires a more condensed and unified logical form. Miller’s application of these schemes to concrete instances of metaphor are carried out to good effect. His treatment of the epistemology and ontology of a work of verbal art is less successful; he wishes to accommodate both subjective and objective aspects, but tends to consider a manifestation of a poem as the poem itself. He considers the written documentation of a poem to be marks on a surface which serve as stimuli to the reader’s awareness; but units of documentation are written words, not marks, and the process of reading is not, as he claims, a process of decoding. He distinguishes between oral documentation and performance, but seems to think records, tapes and films are instances of the former; would not memory, or perhaps even recitation by rote, be better examples of oral documentation? He considers Saussurian langue as an example of a "cultural object" which finds manifestation in parole; but if this is so, how can there ever be intermediate cultural objects like poems or stories? Langue would be the only verbal cultural object there is. It would be better to consider poems and stories as cultural objects, and language as a potential matrix for them, much as matter is a matrix for substances. Miller objects to the metaphor of "organism" for a poem, because, he says, when we take a poem apart in critical analysis, we do not kill it; therefore the metaphor of "machine" is better—something that can be taken apart and put together again. But surely the correction here is not to replace organism by machine, but to change one’s understanding of what it is to take apart. The critic takes apart in thought, the way a mathematician does, and not like a butcher. Miller’s book is extremely interesting, asks many good questions, and should be read with profit and delight by philosophers interested in language.—R. S. (shrink)

Miller first examines the New Critics’ theory of metaphor, then presents his own views. There is one chapter on Hulme and Richards, one on Empson, Tate, Ransom and Brooks, and a third on Wimsatt, Wheelwright, and Krieger. Chapter Four contains Miller’s position and applies it to some metaphors from the metaphysical poets, and Chapter Five examines the problem of the objective status of a work of verbal art. Miller uses Richards’ distinction between the tenor and vehicle of a metaphor; (...) in "My love is a red, red rose," "love" is the tenor and "rose" the vehicle, and a metaphor occurs only in the tense convergence of tenor and vehicle. With this formal scheme he defines surface and submerged metaphors—the former having both elements stated, the latter having the tenor unstated but implied; Miller distinguishes these from moribund metaphors, like the "foot" of a mountain, in which the appropriate tenors are forgotten, not submerged. He distinguishes positive and negative metaphor, depending upon the emphasis the metaphor places on either the fusion or the resistance between tenor and vehicle, for both forces must operate within a lively metaphor. He distinguishes simple, complex and compound metaphors, to the extent that tenor and vehicle are either simple terms or else contain, each or both of them, metaphors inside themselves. In the case of compound metaphors, sometimes the vehicle can be submerged, and if the critic can find what the vehicle is, the poetic passage acquires a more condensed and unified logical form. Miller’s application of these schemes to concrete instances of metaphor are carried out to good effect. His treatment of the epistemology and ontology of a work of verbal art is less successful; he wishes to accommodate both subjective and objective aspects, but tends to consider a manifestation of a poem as the poem itself. He considers the written documentation of a poem to be marks on a surface which serve as stimuli to the reader’s awareness; but units of documentation are written words, not marks, and the process of reading is not, as he claims, a process of decoding. He distinguishes between oral documentation and performance, but seems to think records, tapes and films are instances of the former; would not memory, or perhaps even recitation by rote, be better examples of oral documentation? He considers Saussurian langue as an example of a "cultural object" which finds manifestation in parole; but if this is so, how can there ever be intermediate cultural objects like poems or stories? Langue would be the only verbal cultural object there is. It would be better to consider poems and stories as cultural objects, and language as a potential matrix for them, much as matter is a matrix for substances. Miller objects to the metaphor of "organism" for a poem, because, he says, when we take a poem apart in critical analysis, we do not kill it; therefore the metaphor of "machine" is better—something that can be taken apart and put together again. But surely the correction here is not to replace organism by machine, but to change one’s understanding of what it is to take apart. The critic takes apart in thought, the way a mathematician does, and not like a butcher. Miller’s book is extremely interesting, asks many good questions, and should be read with profit and delight by philosophers interested in language.—R. S. (shrink)

A review of the Collected Writings of T. E. Hulme. Argues that Hulme, a philosopher/journist/poet who was killed in WWI, was a forerunner of the 20th-cent. mind, esp. as reflected in modernist poetry (T. S. Eliot, Imagism, Ezra Pound), aesthetics (Wilhelm Worringer), philosophy (Bergson, Jaspers, Wittgenstein), and politics (Charles Maurras, Georges Sorel).

A collection of previously unpublished essays--philosophical, literary and critical--presenting the influential views of T. E. Hulme and throwing new light upon the complex personality of their originator. The book also includes Hulme's war diary, his controversy with Russell on war, some poems and fragments, and a complete bibliography of his writings.--A. R.

Extensively annotated, and including a biographical and critical Introduction to Hulme and his work, this is the first collected edition of the writings of the poet, critic, and philosopher T. E. Hulme.

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

This paper reports on a study of teachers’ perceptions of teaching and learning in Scotland during the COVID-19 pandemic through the lens of engaged pedagogy and the ideas of bell hooks. It aimed to explore the different ways that teachers experienced teaching and learning during this time and the impact this may have had on teacher identity. Sixty teachers and head teachers were interviewed using MS Teams in the period April-June, 2020. For this paper, 18 transcripts were analyzed by members (...) of the research team. Four key themes emerged from the interview data: Working from home, parental engagement, teacher identity, and changes in pedagogy. Each of these themes were discussed in terms of concepts such as engaged pedagogy, agency, self-actualization, recognition and boundary transgression situated in the work of bell hooks. The idea of boundaries wove itself throughout our data as teachers expressed how the transgression of boundaries was occurring in multiple, and often contradictory, ways in pedagogical, professional, institutional and personal spaces and systems. We see in our data evidence of a shift in practice not just in the way teachers are ‘doing’ education but also, perhaps, in the way that teachers are ‘being’ as educators as they adapt to different ways of knowing. This study provides a unique exploration of a time and space in Scotland during 2020. However, the themes and understandings that emerged are of relevance to educators internationally. Schools across the world were impacted by various lockdowns imposed by the Covid-19 pandemic and teachers faced a common set of challenges that were resolved via re-negotiation and recognition of individual and collective agency to create new pedagogies. (shrink)

Does a τέχνη, qua τέχνη, need to be good-directed? On the basis of the Gorgias, many scholars have thought the answer is yes; I argue here to the contrary. There are, of course, many beneficial τέχναι, such as medicine and weaving; and there are even unconditionally good τέχναι, like the πολιτικὴ τέχνη; but Plato also happily construes piracy as a τέχνη in the Sophist, and, more normally, all sorts of neutral practices as τέχναι. In order to make this argument, I (...) provide a taxonomy of the different kinds of τέχναι and demonstrate that, across the corpus, there does not seem to be a good-directedness requirement. I then address the evidence of the Gorgias, where most commentators find a connection between τέχνη and good-directedness. I argue that this interpretation is incorrect, and that rhetoric in fact fails to be a τέχνη in the Gorgias solely because it is unable to give a rational account. A close reading of the Gorgias shows that this is a plausible interpretation, and comparison with the Phaedrus reinforces the point: in both dialogues, whether rhetoric will be a τέχνη or not hinges only on the question of rationality, not a good-directedness condition. (shrink)

. Ill BERGSONS THEORY OF ART . . .141 THE PHILOSOPHY OF INTENSIVE MANIFOLDS I I CINDERS ..... 215 APPENDICES A. REFLECTIONS ON VIOLENCE . . 249 B. PLAN FOR A ...

How climate models came to gain and exercise epistemic authority has been a key concern of recent climate change historiography. Using newly released archival materials and recently conducted interviews with key actors, we reconstruct negotiations between UK climate scientists and policymakers which led to the opening of the Hadley Centre for Climate Prediction and Research in 1990. We historicize earlier arguments about the unique institutional culture of the Hadley Centre, and link this culture to broader characteristics of UK regulatory practice (...) and environmental politics. A product of a particular time and place, the Hadley Centre was shaped not just by scientific ambition, but by a Conservative governmental preference for ‘sound science’ and high evidential standards in environmental policymaking. Civil servants sought a prediction programme which would appeal to such sensibilities, with transient and regional climate simulation techniques seemingly offering both scientific prestige and persuasive power. Beyond the national level, we also offer new insights into the early role of the Intergovernmental Panel on Climate Change and an evolving international political context in the shaping of scientific practices and institutions. (shrink)

Why does climate change continue to be a forceful idea which divides people? What does this tell us about science, about culture, and about the future? Despite disagreement, how might the idea of climate change nevertheless be used creatively? In this essay I develop my investigation of these questions using four lines of argument. First, the future risks associated with human-caused climate change are severely underdetermined by science. Scientific predictions of future climates are poorly constrained; even more so the consequences (...) of such climates for evolving human socio-technological and natural ecosystems. Second, I argue that to act politically in the world, people have to pass judgments on the facts of science; facts do not speak for themselves. Third, because these judgments are different, the strategic goals of policy interventions developed in response to risks associated with future climate change are inevitably multiple and conflicting. Finally, reconciling and achieving diverse goals requires political contestation. “Moving forward” on climate change then becomes a task of investing in the discursive and procedural preconditions for an agonistic politics to work constructively, to enable ways of implementing policies when people disagree. (shrink)

In 1911, Bergson visited Britain for a number of lectures which led to his increasing popularity. Russell personally encountered Bergson during his lecture at University College London on the 28th of October, and on the 30th of October Bergson attended one of Russell’s lectures. Russell went on to write a number of critical articles on Bergson, contributing to the hundreds of publications on Bergson which ensued following these lectures. Russell’s critical writings have been seen as part of a history of (...) controversies between so-called ‘Continental’ and ‘Analytic’ philosophers in the twentieth century. Yet Russell’s engagement with Bergson’s thought comes as a response to a particular British form of Bergsonism and is involved with the wider phenomenon of the British import of Bergsonism (by figures connected in different ways to Russell, such as Hulme, Wildon Carr or Eliot). Though this may challenge the view of Russell and Bergson as enacting an early version of the ‘Analytic’-‘Continental’ divide, there are however some particular characterisations of Bergson by Russell which contribute to the subsequent formation of the ‘rotten scene’ (Glendinning 2006: 69) of the divide in the second half of the twentieth century. (shrink)

Ocherk 1. Voprosy ontologii -- Ocherk 2. Voprosy ėtiki i ėstetiki -- Ocherk 3. Voprosy gnoseologii i aksiologii.

John Cassidy, born in Ireland and trained as a sculptor at the Manchester School of Art, was a popular figure in the Manchester area during his long career. From 1887, when he spent the summer modelling for visitors at the Royal Jubilee Exhibition, to the 1930s he was a frequent choice for portrait busts, statues and relief medallions. Elected to the Manchester Academy of Fine Arts, he also created imaginative works in all sorts of materials, many of which appeared at (...) the Academys annual exhibitions. He gained public commissions from other towns and cities around Britain, and after World War I created several war memorials. This essay examines his life and work in Manchester, with particular reference to two major patrons, Mrs Enriqueta Rylands and James Gresham. A list of public works still to be seen in Greater Manchester is included. (shrink)

Plato and Aristotle both grant and deny the status of techne to farming. How can we resolve this apparent inconsistency? The answer is by construing techne as a folk concept and farming as a marginal member of this category: farming is a techne in the sense of a specialized, rational practice, but it is a non-central case of techne because it is tied to the land and involves work outdoors.

Fairness, the notion that people deserve or have rights to certain resources or kinds of treatment, is a fundamental dimension of moral cognition. Drawing on recent evidence from economics, psychology, and neuroscience, we ask whether self-interest is always intuitive, requiring self-control to override with reasoning-based fairness concerns, or whether fairness itself can be intuitive. While we find strong support for rejecting the notion that self-interest is always intuitive, the literature has reached conflicting conclusions about the neurocognitive systems underpinning fairness. We (...) propose that this disagreement can largely be resolved in light of an extended Social Heuristics Hypothesis. Divergent findings may be attributed to the interpretation of behavioral effects of ego depletion or neurostimulation, reverse inference from brain activity to the underlying psychological process, and insensitivity to social context and inter-individual differences. To better dissect the neurobiological basis of fairness, we outline how future research should embrace cross-disciplinary methods that combine psychological manipulations with neuroimaging, and that can probe inter-individual, and cultural heterogeneities. (shrink)