First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

In lieu of an abstract, here is a brief excerpt of the content:TOWARD A GENERAL THEORY OF FICTION by James D. Parsons When nelson Goodman writes, "All fiction is literal, literary falsehood," he seems to be disregarding at least one noteworthy tradition.1 The tradition I have in mind includes works by Jeremy Bendiam, Hans Vaihinger, Tobias Dantzig, Wallace Stevens, and a host ofother writers in many fields who have been laboring for more man two centuries to clear the (...) ground for a general theory of fiction. Such a general dieory would, if its exponents are right about its relevemce, be situated at the very heart of die law, literature, religion, science, mathematics — in fact, of humem life itself. Fiction dien would be no neirrow litereiry falsehood, but a kind of pressure, eis Wedlace Stevens said, which die imagination exerts "against die pressure of reality," and which "helps us to live our lives,"2 or, in Hans Vaihingens metaphor, "a scaffolding afterwards to be demolished" 3 — that is, elfter it heis served its constructive purpose. A fiction is a vitally useful creation of die mind corresponding to nothing in the real world. Most people eire aware of some of these fictions, from the perfect geometric figures of Euclid to the black box of contemporary axiomatics. There are many odiers. The notion diat all human beings are equal before die law is a fiction that can serve opposing purposes: it can work as an instrument for securing greater justice in the courts and in society, or it can function as ceimouflage, helping to perpetuate em unjust legal system and em oppressive social order — emd probably in any actual situation it serves both purposes at once. In die science of mechanics the idea of a pure vacuum, in which moving objects meet with no resistance, was for some centuries a useful fiction diat made possible the exact mathematiced analysis of motion in memy forms — another useful fiction. The notion of normality in psychology — mat diere is a universal standard of reference for human behavior — is stdl utilized by clinical and laboratory workers in the field, in spite of the metssive sociological emd ethnographic criticisms that have been leveled against it. In science generally, the idea that 92 James D. Parsons93 diere is a community of experts who by dieir combined influence decide what the trudi is in every field is a fiction diat seems to have come to the end of its usefulness, diough some philosophers have written about it as if it were a reality and not a fiction at edl. The fictions I have cited so far are none of them literary, nor être diey fedse in the ordinetry meaning of the word. They are simply not true; they describe nothing mat exists, except in die mind, emd cem be considered false only if one forgets what they eire emd tries, illegitimately, to apply tests of trudi to them in a direct way. Among the fictions mat might be called literary are the fictions derived from mydis. Now, a myth is a story told in answer to a question or a series of questions that has never been asked, eidier about the real world or (most likely) about the perennial performance of a ritual. The mydi is designed to forestall the questioning, because the questions that might be raised would be too embarrassing or because questions about some aspects of reality ceuinot be formulated without distorting our relation to them. These are the aspects of reedity that can be viewed only out of die corner of the eye, that disappear when we focus our gaze upon diem, and mat can be identified only indirectly.4 The more explicitly fictional devices, too, of poetry, drama, and the novel develop out of the attempt to achieve some sort of cognizeuice of the seune aspects of reality that are related in mydis. I do not meetn to imply that literature, of which mydi is a part, is concerned only with such disconcerting or evanescent aspects of reality. Literature, like all the great realms of culture, is concerned with the whole of reality. It has to be, omerwise its more passionate, its more ediereed concerns would have no lodging place, no environment in which to maintain... (shrink)

Contemporary analytic philosophy recognizes few principled constraints on its subject matter. When other disciplines also lay claim to a particular topic, however, important questions arise concerning the relation between these other disciplines and philosophy. A case in point is mathematics: traditional philosophy of mathematics defines a set of problems and certain general answers to those problems. However, mathematics is a subject matter that can be studied in many other ways: historically, sociologically, or even aesthetically, for example. Given this, we may (...) ask what implications discoveries in these disciplines have for the philosophy of mathematics. (shrink)

RésuméDans leur livre récent, George Lakoff et Rafael Núñez se livrent à une critique naturaliste soutenue du platonisme traditionnel concernant les entités mathématiques. Ils affirment que des résultats récents en sciences cognitives démontrent qu'il est faux. En particulier, ils estiment que la découverte que la cognition mathématique s'appuie pour une large part sur les métaphores conceptuelles est incompatible avec le platonisme. Nous montrons ici que tel n'est pas le cas. Nous examinons et rejetons également quelques arguments philosophiques que formulent Lakoff (...) et Núñez contre le platonisme. Enfin, nous lions leur hostilité au platonisme à certaines opinions sur les ramifications politiques de celui-ci. Pour conclure, nous faisons valoir que ces opinions sont sans fondements et présentent une image distordue des dimensions politiques du platonisme. (shrink)

Coming to terms with Adorno and Eisler's Composing for the Films (Komposition für den Film) has never been easy. First-time readers in 1947 undoubtedly found the book puzzling, starting with its authorship. The art deco dust jacket transmits in chartreuse lettering against a dark grey background only five words: the title and the single name “Eisler.” Yet Hanns Eisler is not the sole author, a revelation delayed until 1969 (though still questioned), when, seven years after Eisler's death, his collaborator, Theodor (...) W. Adorno, issued a German-language version of the text.1 The preface to the 1947 edition compounds the likelihood of…. (shrink)

---Introduction: Appendix A. The Tudor literature on church and state. Appendix B. Crowell's interpreter. Appendix C. James and the Puritans. Appendix D. A conference about the next succession to the crown of England, and other books by Robert Parsons. Appendix E. Bibliography, ---The political works of James I : Basilikon Doron. The trew law of free monarchies. An apologie for the oath of allegiance. A premonition to all Christian monarches, free princes and states. 'A defence of the (...) right of kings, against Cardinall Perron. Speech of 1603-1604. Speech of 1605. Speech of 1607. Speech of 1609-1610. Speech in the Star chamber, 1616. ---Index. (shrink)

Charles Parsons has argued that we have the ability to apprehend, or "intuit", certain kinds of abstract objects; that among the objects we can intuit are some which form a model for arithmetic; and that our knowledge that the axioms of arithmetic are true in this model involves our intuition of these objects. I find a problem with Parson's claim that we know this model is infinite through intuition. Unless this problem can be resolved. I question whether our knowledge (...) that the arithmetical axioms are true can reasonably be called intuitive in the way Parsons intends. (shrink)

The idea that an adequate semantics of ordinary language calls for some theory of events has sparked considerable debate among linguists and philosophers. On the one hand, so many linguistic phenomena appear to be explained if (and, according to some authors, only if) we make room for logical forms in which reference to or quantification over events is explicitly featured. Examples include nominalization, adverbial modification, tense and aspect, plurals, and singular causal statements. On the other hand, a number of deep (...) philosophical questions arise as soon as we take events into consideration. Are events entities of a kind? What are their identity and individuation criteria? How does semantic theorizing depend on such metaphysical issues? The aim of this book is to address such issues in some depth, with emphasis precisely on the interplay between linguistic applications and philosophical implications. Contributors: N. Asher, P. M. Bertinetto, J. Brandl, D. Delfitto, R. Eckardt, J. Higginbotham, A. Lenci, T. Parsons, A. ter Meulen, H. Verkuyl. A comprehensive introductory essay (pp. 3-47) is included. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Modernity as a Rhetorical Problem: Phronēsis, Forms, and Forums in Norms of Rhetorical CultureJames Arnt AuneThe true paradises are the paradises that we’ve lost.—Marcel Proust, The Past RegainedThomas B. Farrell’s Norms of Rhetorical Culture (1993, 6) remains both a masterly synthesis of previous constructive work in rhetorical theory and the essential starting point for anyone committed to reconciling the practical impulses of Aristotelian rhetoric, ethics, and politics with the (...) critical imperatives of modernity. In what follows, I try to make a very simple point about Farrell’s recuperation of Aristotelianism: he neglects matters of social causation and institutional design that were essential to Aristotle’s understanding of rhetoric. In turn, by displacing the social in favor of the cultural—a displacement characteristic of much recent work in the human sciences (Schudson 1997)—Farrell lacks a coherent account of the gap between the normative aspirations of classical rhetoric and the empirical characteristics of public life in modern liberal democracies.The problem appears most clearly in chapter 7 of Norms : “Criticism, Disturbance, and Rhetorical Community.” Farrell defines culture as “the common definition of places for the invention and perpetuation of meaning. A culture offers to those who live in it symbols and families of practices that [End Page 402] permit ongoing performances of meaning and value” (1993, 277). Summarizing his previous arguments, Farrell contends that Aristotle’s Rhetoric informs modern “cultural occasions” in three ways: “the impetus for rhetorical meaning, which we find in Aristotle’s seminal understanding of phronēsis, typified by deliberative prudence; a concept of rhetorical form, which we have found in the prototype for public inference and judgment—the enthymeme; and a modern rhetorical forum, a space of engagement wherein the modern constraints of rhetorical culture might assert themselves” (1993, 277). Although these three concepts are inherently useful, both for analyzing past rhetorical episodes and for projecting emancipatory rhetorical possibilities in the present, they are insufficiently grounded in a historical account of the differences between ancient and modern prudential deliberation, rhetorical forms, and rhetorical forums. An adequate history of these differences would require attention to modern social systems as a whole, which include the economy, the polity, and social institutions such as the family, schools, religious and ethnic organizations, and, most crucially for contemporary social systems, the entire apparatus of the culture industry, including the news and entertainment “media.”The cultural aspect of the modern social system, loosely following Talcott Parsons (1951), includes norms, which make for communal solidarity, and values, which undergird the whole system. Although a thoroughgoing account of the place of rhetoric in the entire contemporary social system of a modern liberal democracy such as the United States or Canada would have required a book three times as long as Norms, there are three ways in which modernity complicates the appropriation of Aristotle’s concepts. First, rhetorical meaning is very different in a social system in which individual autonomy takes precedence over communal solidarity as a fundamental value (Pippin 1999). Second, rhetorical forms function differently in a social system in which those forms can be commodified (Aune 1994, 2001). Third, rhetorical forums are also far more complex, especially in an extended republic like Canada or the United States, requiring greater attention to the way in which constitutions literally create persons who speak (such as the president or prime minister) and spaces for speaking (Congress, the state or provincial houses [White 1984]). The need to raise massive sums of money to obtain media access for common rhetorical deliberation, as is especially the case in the United States, complicates the notion of a rhetorical forum immensely. Even without adopting a broadly Marxian framework, it is clear that the rise and development of capitalism have permanently altered rhetorical deliberation and its forms and forums. [End Page 403] In what follows, I expand on these three criticisms first, by developing a historical account of the social changes that necessitate a rethinking of classical rhetorical theory; second, by comparing and contrasting Farrell’s work with two other contemporary Aristotelianisms, one antimodernist and the other solidly modernist; and third, by developing a framework for normative and empirical investigation of rhetoric that is, I hope... (shrink)

Within anthropology, as elsewhere in the human sciences, there is a tendency to divide knowledge making into two separate poles: conceptual (theory) vs. empirical (ethnography). In Theory Can Be More than It Used to Be, Dominic Boyer, James D. Faubion, and George E. Marcus argue that we need to take a step back from the assumption that we know what theory is to investigate how theory—a matter of concepts, of analytic practice, of medium of value, of professional ideology—operates in (...) anthropology and related fields today. They have assembled a distinguished group of scholars to diagnose the state of the theory-ethnography divide in anthropology today and to explore alternative modes of analytical and pedagogical practice. Continuing the methodological insights provided in Fieldwork Is Not What It Used to Be, the contributors to this volume find that now is an optimal time to reflect on the status of theory in relation to ethnographic research in anthropology and kindred disciplines. Together they engage with questions such as, What passes for theory in anthropology and the human sciences today and why? What is theory's relation to ethnography? How are students trained to identify and respect anthropological theorization and how do they practice theoretical work in their later career stages? What theoretical experiments, languages, and institutions are available to the human sciences? Throughout, the editors and authors consider theory in practical terms, rather than as an amorphous set of ideas, an esoteric discourse of power, a norm of intellectual life, or an infinitely contestable canon of texts. A short editorial afterword explores alternative ethics and institutions of pedagogy and training in theory. Contributors: Andrea Ballestero, Rice University; Dominic Boyer, Rice University; Lisa Breglia, George Mason University; Jessica Marie Falcone, Kansas State University; James D. Faubion, Rice University; Kim Fortun, Rensselaer Polytechnic Institute; Andreas Glaeser, University of Chicago; Cymene Howe, Rice University; Jamer Hunt, Parsons The New School for Design and the Institute of Design in Umea, Sweden; George E. Marcus, University of California, Irvine; Townsend Middleton, University of North Carolina at Chapel Hill; Deepa S. Reddy, University of Houston–Clear Lake; Kaushik Sunder Rajan, University of Chicago. (shrink)

Traditionally, analytic philosophers writing on aesthetics have given short shrift to nature. The last thirty years, however, have seen a steady growth of interest in this area. The essays and books now available cover central philosophical issues concerning the nature of the aesthetic and the existence of norms for aesthetic judgement. They also intersect with important issues in environmental philosophy. More recent contributions have opened up new topics, such as the relationship between natural sound and music, the beauty of animals, (...) and the aesthetics of gardens. Using these materials, it is now easy to include a module on the aesthetics of nature as one part of an introductory course on aesthetics, or even to design an entire upper-level undergraduate or graduate seminar around the topic. Author Recommends: Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Readers coming fresh to contemporary debates may find the lack of attention to natural beauty in twentieth-century philosophy somewhat puzzling. This paper, which defends the view that nature cannot be aesthetically appreciated as such, presents this attitude in a particularly pure form. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This seminal essay marks the beginning of contemporary discussion of the aesthetics of nature. Many of its ideas and themes continue to reverberate in contemporary debates. Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture (London: Routledge, 2000). This volume is a collection of Carlson's influential essays on environmental aesthetics. Chapters 4 and 5, 'Appreciation and the Natural Environment' and 'Nature, Aesthetic Judgment, and Objectivity', set the agenda for much subsequent discussion in the aesthetics of nature. Chapter 6, 'Nature and Positive Aesthetics', develops and defends the controversial idea that nature, unlike art, is always aesthetically good. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). In this paper, Berleant presents his influential idea of an 'engaged aesthetics' for nature. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. This article develops Saito's idea that ethical considerations play a critical role in the aesthetics of nature, and presents a novel argument for Positive Aesthetics for nature. Malcolm Budd, The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature (Oxford: Oxford University Press, 2002). This book collects Budd's papers on the aesthetics of nature, which contain important criticisms of Carlson's natural environmental model and the notion of Positive Aesthetics for nature. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This paper argues for the importance of aesthetic appreciation that emphasizes emotional responses to nature. A philosophically sophisticated and influential treatment by a leading aesthetician. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. In this essay, an environmental philosopher gives careful and thorough consideration to the place of aesthetic considerations in environmental protection, focusing on Carlson's work. John Andrew Fisher, 'What the Hills are Alive With: In Defense of the Sounds of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 167–79. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). Most discussions of nature aesthetics focus on visual experiences; this essay is the first philosophical study of the aesthetics of natural sounds. A nuanced and original paper. Allen Carlson and Arnold Berleant. 'Introduction: The Aesthetics of Nature'. The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004), 11–42. A comprehensive review of the literature, this essay contains the best available bibliography on the subject. Online Materials: http://plato.stanford.edu/entries/environmental-aesthetics/ Environmental Aesthetics: Allen Carlson's entry in the Stanford Encyclopedia of Philosophy. http://www.aesthetics-online.org/articles/index.php?articles_id=17 Teaching Environmental Aesthetics: Allen Carlson's article on the American Society for Aesthetics Web site. http://www.uqtr.uquebec.ca/AE/Vol_6/ Volume 6 of AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique: Papers by Thomas Heyd and Ira Newman on Allen Carlson's book Aesthetics and the Environment, along with a response from Carlson. http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=400 Paradoxes and Puzzles: Appreciating Gardens and Urban Nature: An essay by Stephanie Ross in the online journal Contemporary Aesthetics. Sample Syllabus for a three-week module in an undergraduate aesthetics course: This three week module can easily be adapted to fit shorter available class time or reduced reading expectations for students. A lighter two-week module, for instance, would drop the Hepburn reading and do either the Carroll essay or the Saito essay, but not both. Note that all readings for this module are reprinted in Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Reading: Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Discussion of Hepburn's essay will allow the instructor to bring out the distinctive issues and themes of the aesthetics of nature. Week 2: Objectivity or Subjectivity? Readings: Allen Carlson, 'Appreciation and the Natural Environment'. Journal of Aesthetics and Art Criticism 37 (1979): 267–76. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. This section covers two very different approaches to thinking about the aesthetic appreciation of nature. Consideration of these provides an opportunity for students to reflect on nature's relationship to art, and on the character of aesthetic experience itself. Week 3: Pluralistic Approaches Readings: Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. This section considers approaches that are motivated by perceived limitations of the two approaches mentioned above. In discussing these, students will focus on the significance, for the aesthetics of nature, of emotion and also of broader ethical considerations. Sample Syllabus for an upper-level undergraduate or graduate seminar: Books on Syllabus: Glenn Parsons, Aesthetics and Nature [AN] (London: Continuum Press, forthcoming November 2008). Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture [AE] (London: Routledge, 2000). Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments [ANE] (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Parsons, AN, ch. 1. Allen Carlson, 'Environmental Aesthetics'. The Routledge Companion to Aesthetics. Eds. Berys Gaut and Dominic Lopes (London: Routledge, 2001), 423–36. Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in ANE. Week 2: Imagination Parsons, AN, ch. 2. Thomas Heyd, 'Aesthetic Appreciation and the Many Stories About Nature'. British Journal of Aesthetics 41 (2001): 125–37. Reprinted in ANE. Emily Brady, 'Imagination and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 139–47. Reprinted in ANE. Marcia Eaton, 'Fact and Fiction in the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 149–56. Reprinted in ANE. Week 3: Formalism Parsons, AN, ch. 3. Carlson, 'Formal Qualities and the Natural Environment', AE, ch. 3. Allen Carlson, 'On the Possibility of Quantifying Scenic Beauty'. Landscape Planning 4 (1977): 131–72. Ira Newman, 'Reflections on Allen Carlson's Aesthetics and the Environment'. AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique 6 (2001) http://www.uqtr.uquebec.ca/AE/Vol_6/Carlson/newman.html>. Nick Zangwill, 'Formal Natural Beauty'. Proceedings of the Aristotelian Society 21 (2001): 209–24. Week 4: Science and Nature Aesthetics Parsons, AN, ch. 4. Aldo Leopold, 'Country'. A Sand County Almanac, with Essays on Conservation from Round River (New York, NY: Ballantine Books, 1966), 177–80. Carlson, 'Appreciation and the Natural Environment', AE, ch. 4. Carlson, 'Nature, Aesthetic Judgment, and Objectivity', AE, ch. 5. Glenn Parsons, 'The Aesthetics of Nature'. Philosophy Compass 2 (2007): 358–72. Week 5: Positive Aesthetics Carlson, 'Nature and Positive Aesthetics', AE, ch. 6. Eugene Hargrove, Foundations of Environmental Ethics (Denton, TX: Environmental Ethics Books, 1996), ch. 6. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. Malcolm Budd, 'The Aesthetics of Nature'. Proceedings of the Aristotelian Society 100 (2000): 137–57. Glenn Parsons, 'Nature Appreciation, Science and Positive Aesthetics'. British Journal of Aesthetics 42 (2002): 279–95. Week 6: Animals Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]), Pt. III, sec. VI. Holmes Rolston III, 'Beauty and the Beast: Aesthetic Experience of Wildlife'. Valuing Wildlife: Economic and Social Perspectives. Eds. Daniel J. Decker and Gary R. Goff (Boulder, CO: Westview Press, 1987), 187–96. Glenn Parsons, 'The Aesthetic Value of Animals'. Environmental Ethics 27 (2007): 151–69. Week 7: Pluralism Parsons, AN, ch. 5. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in ANE. Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Reprinted in ANE. Ronald Hepburn, 'Nature Humanized: Nature Respected'. Environmental Values 7 (1998): 267–79. Ronald Hepburn, 'Trivial and Serious in Aesthetic Appreciation of Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 65–80. Glenn Parsons and Allen Carlson, 'New Formalism and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 62 (2004): 363–76. Week 8: Engagement Parsons, AN, ch. 6. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in ANE. Cheryl Foster, 'The Narrative and the Ambient in Environmental Aesthetics'. Journal of Aesthetics and Art Criticism 56 (1998): 127–37. Reprinted in ANE. Allen Carlson, 'Aesthetics and Engagement'. British Journal of Aesthetics 33 (1993): 220–27. Week 9: The Sublime Immanuel Kant, Critique of the Power of Judgment. Trans. P. Guyer and E. Matthews (Cambridge University Press, 2000 [1790]). Excerpts from sections 23–9. Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]). Excerpts from Pt. II, sections 1–8. Ronald Hepburn, 'The Concept of the Sublime: Has it any Relevance for Philosophy Today?'. Dialectics and Humanism 15 (1988): 137–55. Stan Godlovitch, 'Icebreakers: Environmentalism and Natural Aesthetics'. Journal of Applied Philosophy 11 (1994): 15–30. Reprinted in ANE. Malcolm Budd, 'Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: The Sublime in Nature'. British Journal of Aesthetics 38 (1998): 233–50. Week 10: Aesthetic Preservation Parsons, AN, ch. 7. Janna Thompson, 'Aesthetics and the Value of Nature'. Environmental Ethics 17 (1995): 291–305. Holmes Rolston III, 'From Beauty to Duty: Aesthetics of Nature and Environmental Ethics'. Environment and the Arts: Perspectives on Environmental Aesthetics. Ed. Arnold Berleant (Aldershot, UK: Ashgate, 2002), 127–41. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. Keekok Lee, 'Beauty for Ever?'. Environmental Values 4 (1995): 213–25. Week 11: Gardens Parsons, AN, ch. 8. Mara Miller, The Garden as an Art (Albany, NY: State University of New York Press, 1993), ch. 1. Mara Miller, 'Gardens as Works of Art: The Problem of Uniqueness'. British Journal of Aesthetics 26 (1986): 252–6. Stephanie Ross, What Gardens Mean (Chicago, IL: University of Chicago Press, 1998), chs. 1, 7. Tom Leddy, 'Gardens in an Expanded Field'. British Journal of Aesthetics 28 (1988): 327–40. David Cooper, 'In Praise of Gardens'. British Journal of Aesthetics 43 (2003): 101–13. Week 12: Art in Nature Parsons, AN, ch. 9. Carlson, 'Is Environmental Art an Aesthetic Affront to Nature?', AE, ch. 10. Sheila Lintott, 'Ethically Evaluating Land Art: Is It Worth It?'. Ethics, Place & Environment 10 (2007): 263–77. Emily Brady, 'Aesthetic Regard for Nature in Environmental and Land Art'. Ethics, Place & Environment 10 (2007): 287–300. Focus Questions1. Are there any important differences between the aesthetic appreciation of art and the aesthetic appreciation of nature? If so, what are they?2. Is preserving nature for its aesthetic value a coherent idea?3. What is the ugliest natural thing or place you can think of? How might proponents of Positive Aesthetics for nature deal with your example?4. Does the concept of the sublime have any significance for our contemporary experience of nature? If it does, what relation does it bear to our aesthetic appreciation of nature?5. Watch Rivers and Tides (2001), the documentary film about the British environmental artist Andy Goldsworthy. Ethically speaking, how do you think we ought to regard his art-making? (shrink)

This essay reviews two recent books commenting on, and contributing to, the “science wars.” In Who Rules in Science? James Robert Brown respectfully but firmly rejects the “nihilist” and the “naturalist” wings of social constructivism. He rejects attempts to debunk science in the name of a relativist or anarchist epistemology. He also criticizes the “strong programme” in the sociology of knowledge and its implied contrast between reasons and causes. In Prometheus Bedeviled Norman Levitt examines the cultural roots of current (...) discontent with science. Levitt's analysis—and polemic—charges contemporary culture with a pervasive cheapening of intellectual standards. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Georg Simmel Reappears: “The Aesthetic Significance of the Face”James T. Siegel (bio)Michael Landmann, the editor of Georg Simmel’s collected works, tells this anecdote about him. Simmel had submitted a piece called “Psychological and Ethnological Studies on Music” as his doctoral dissertation. His examining committee refused to accept it. As the American translator of the piece retells Landmann’s anecdote, theyinstead granted the degree for a previously written distinguished study (...) on Kant’s monadology. While Zupitza [the committee’s chair] would have been willing to accept this study on music, if it were first “cleared of the numerous misspellings and stylistic errors,” Helmholtz was more skeptical: “Regardless of my other reservations, Simmel is entirely too confident in his conclusions. And the manner in which he presented the faculty with this piece which is so full of misspellings and stylistic superficialities, which evidently was not proofread, in which sentences which are cited from foreign languages can hardly be deciphered, does not attest to a great deal of reliability. Insofar, however, as he has quite a few illustrious predecessors for what he evidently takes to be the method or lack of method of scientific study, he may let them serve as some kind of personal excuse. I, however, believe that we will be doing him a greater service if we do not encourage him further in this direction.”[Landmann 17]1It seems it is Simmel’s fate to be dismissed yet still to be recognized, if not for the work at hand, for something else. Donald Levine, for instance, notes that in Talcott Parsons’s attempt to recuperate German and French sociology for the English-speaking world, there is no mention of Simmel. He says further that his studies of art “are not well known by art historians and critics” just as his work in the philosophy of history is ignored by historians. Simmel died in 1919, but there are still recurrent “discoveries” of Simmel, as witnessed by the sporadic bursts of translations into English. The Philosophy of Money, for instance, published in 1900, was not translated into English until 1978, the famous essay “The Stranger” in 1950, and so on. Just as Simmel left no students who worked in the way he did and no school of sociology, the revivals of Simmel, which usually are marked by a sense of anticipation (“now we will not only learn something; we will carry it forward”), tend to die away without leaving important (or at least recognizable) effects. [End Page 100]It is difficult to quote Simmel and to carry on his work through the usual modifications of something already in place. There is, instead, the attempt to present him “nonetheless.” Thus Donald Levine, to whom the English-speaking world is much indebted for his translations and presentations of Simmel, says: “[t]he presentation of a coherent account of the whole of Simmel’s social thought is complicated by the fact that coherence is generally not considered to be one of the hallmarks of Simmel’s writing” [11]. Levine writes this sentence in a piece he entitles “The Structure of Simmel’s Social Thought.” There are indeed a number of attempts to say what it is that Simmel was trying to do, as though readers had decided that Simmel is unclear but that “nonetheless” we can discern something of great value—just as his thesis committee in refusing his dissertation decided “nonetheless” that another piece would do. If Simmel did not deserve a degree for a piece on the ethnology and psychology of music, surely he deserved it for a work on Kant’s monadology. It seems to be Simmel’s talent to divert interest from whatever he is saying to something else—and always to something of interest and importance. Hence the fact that his influence is much greater than appears from the relative lack of citations to him and the absence not merely of a school of scholarship but of a style of writing traceable to him. His influence disappears at the moment it is most strongly felt. And just when he seems to be out of sight, forgotten, or used up, he reappears. 2Max Weber gives... (shrink)

Edited book containing the following essays: 1 Getting over Gettier, Alan Musgrave.- 2 Justified Believing: Avoiding the Paradox Gregory W. Dawes.- 3 Literature and Truthfulness,Gregory Currie.- 4 Where the Buck-passing Stops, Andrew Moore.- 5 Universal Darwinism: Its Scope and Limits, James Maclaurin, - 6 The Future of Utilitarianism,Tim Mulgan. 7 Kant on Experiment, Alberto Vanzo.- 8 Did Newton ʻFeignʼ the Corpuscular Hypothesis? Kirsten Walsh.- 9 The Progress of Scotland: The Edinburgh Philosophical Societies and the Experimental Method, Juan Gomez.- 10 (...) Propositions: Truth vs. Existence, Heather Dyke.- 11 Against Advanced Modalizing, Josh Parsons.- 12 Spread Worlds, Plenitude and Modal Realism: A Problem for DavidLewis, Charles R. Pigden and Rebecca E. B. Entwisle.- 13 Defending Quine on Ontological Commitment. 14. The Scandal of Platonism, Vladimír Svoboda.- 15 A Neglected Reply to Prior's Dilemma J. C. Beall. 16 Mathematical and Empirical Concepts, Pavel Materna.- 17 Post-Fregean Thoughts on Propositional Unity, Bjørn Jespersen.- 18 Best-path Theorem Proving: Compiling Derivations, Martin Frické.- 19 Is Imperative Inference Impossible?, Hannah Clark-Younger. ​. (shrink)

(2013). What Shall We Do with Analytic Metaphysics? A Response to McLeod and Parsons. Australasian Journal of Philosophy: Vol. 91, No. 1, pp. 179-182. doi: 10.1080/00048402.2012.762029.

This essay reviews two recent books commenting on, and contributing to, the “science wars.” In Who Rules in Science? James Robert Brown respectfully but firmly rejects the “nihilist” and the “naturalist” wings of social constructivism. He rejects attempts to debunk science in the name of a relativist or anarchist epistemology. He also criticizes the “strong programme” in the sociology of knowledge and its implied contrast between reasons and causes. In Prometheus Bedeviled Norman Levitt examines the cultural roots of current (...) discontent with science. Levitt's analysis—and polemic—charges contemporary culture with a pervasive cheapening of intellectual standards. (shrink)

Neil Tennant and Joseph Salerno have recently attempted to rigorously formalize Michael Dummett's argument for logical revision. Surprisingly, both conclude that Dummett commits elementary logical errors, and hence fails to offer an argument that is even prima facie valid. After explicating the arguments Salerno and Tennant attribute to Dummett, I show how broader attention to Dummett's writings on the theory of meaning allows one to discern, and formalize, a valid argument for logical revision. Then, after correctly providing a rigorous statement (...) of the argument, I am able to delineate four possible anti-Dummettian responses. Following recent work by Stewart Shapiro and Crispin Wright, I conclude that progress in the anti-realist's dialectic requires greater clarity about the key modal notions used in Dummett's proof. (shrink)

The transcendental aesthetic -- Arithmetic and the categories -- Remarks on pure natural science -- Two studies in the reception of Kant's philosophy of arithmetic: postscript to part I -- Some remarks on Frege's conception of extension -- Postscript to essay 5 -- Frege's correspondence: postscript to essay 6 -- Brentano on judgment and truth -- Husserl and the linguistic turn.

I discuss a problem for modal realism raised by John Divers and others. I argue that the problem is real enough but that Divers’ “advanced modalising” solution is inadquate. The problem can only be solved by 1) holding that modal realism is only contingently true, 2) embracing a kind of Meinongianism about ontological commitment, or 3) abandoning the project of “analysing modality”.