Mary R. Lefkowitz, Greek Gods, Human Lives: What We Can Learn from the Myths, Yale University Press, ISBN - 9780300101454Marcel Detienne, The Writing of Orpheus: Greek Myth in a Cultural Context, Johns Hopkins University Press, ISBN - 9780801869549.

Розкрито сутність поняття «рейтинг». Доведено значущість рейтингової оцінки для суб’єктів фінансового ринку, зокрема для страхових компаній, потенційних страхувальників, інвесторів та кредиторів.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 71-80 [Access article in PDF] The Arts and the Creation of Mind: Eisner's Contributions to the Arts in Education Arthur Efland Professor Emeritus, Department of Art Education The Ohio State University In the last four years at least three books in arts education have dealt with the subject of cognition in relation to the arts. I refer to Charles Dorn's Mind in (...) Art, my book Art and Cognition, and Elliot Eisner's The Arts and the Creation of Mind, with the publication of the latter providing the occasion for this article.1 Each of these texts makes its case for the arts in education on somewhat similar grounds. All three share the view that the creation and understanding of works of art, though endowed with feeling and emotion, are nevertheless cognitive endeavors. But why have so many books appeared on the topic of cognition at this time? To answer this question it becomes necessary to describe the changes in our understanding of cognition and the problems these have created for the arts in education.Once cognition was the term used to designate propositional thinking with verbal and numerical symbols, whereas the current sense of the term embraces all forms of thought including mental images obtained through perception. In short it includes all forms of sentience by which the human organism comes to know itself and its environment. This change was to have a major impact upon curriculum reform initiatives in all studies but it was to have a revolutionary impact upon education in the arts for reasons explained later in this essay. However, an adequate story of cognition in the arts cannot be told without a discussion of Eisner's contributions to this discourse. The Waning of Behaviorism For the first half of the twentieth century the psychology that dominated educational practice was behaviorism. Its proponents included psychologists like Edward L. Thorndike, James B. Watson, and B.F. Skinner.2 Each strove to create a science of psychology that would match the rigor of physics or chemistry, where causes in relation to effects would be carefully observed and measured, making the explanation, prediction, and control of phenomena possible, especially those behaviors that fall under the control of the classroom teacher. The formation of connections called stimulus-response (S-R) bonds had become the molar unit to explain learning, much [End Page 71] like the way that differences in the structure of the atom was used to explain the behavior of the chemical elements of the Periodic Table. This bond between environmental stimuli and the organism's response was seen as the elementary unit of behavior while the IQ had become its measure. Invisible notions like mind and imagination were banished to metaphysical philosophy, outside the legitimate bounds of science.Though behaviorists never denied the existence of higher order thinking that is, abstract, sense-free thinking as found in pure mathematics, they were unable to explain how these human capacities emerge through the accumulation of such rudimentary stimulus-response events. Nevertheless, they recognized that humans do have a capacity for thinking that relies heavily upon symbols like words, numbers and the like. Moreover, certain subjects that require reason and logic, like math and theoretical physics, would be inconceivable without such symbols and the rules by which these are manipulated. By contrast it was assumed that the arts, which relied on sensory images, either did not employ this type of propositional thought, or did so to a far lesser degree. Thus the arts could be dispatched to the noncognitive or affective domains with little or no reduction in the learner's cognitive capacities. Indeed, these noncognitive realms, which gave play to feelings and emotions, were often seen as inimical to the acquisition of rational powers of thought. Intellectual power as it was then understood, required that feelings and emotions be brought under the control of reason.As long as behaviorism served as the dominant paradigm, the school curriculum could be divided into two or three broad divisions... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 71-80 [Access article in PDF] The Arts and the Creation of Mind: Eisner's Contributions to the Arts in Education Arthur Efland Professor Emeritus, Department of Art Education The Ohio State University In the last four years at least three books in arts education have dealt with the subject of cognition in relation to the arts. I refer to Charles Dorn's Mind in (...) Art, my book Art and Cognition, and Elliot Eisner's The Arts and the Creation of Mind, with the publication of the latter providing the occasion for this article.1 Each of these texts makes its case for the arts in education on somewhat similar grounds. All three share the view that the creation and understanding of works of art, though endowed with feeling and emotion, are nevertheless cognitive endeavors. But why have so many books appeared on the topic of cognition at this time? To answer this question it becomes necessary to describe the changes in our understanding of cognition and the problems these have created for the arts in education.Once cognition was the term used to designate propositional thinking with verbal and numerical symbols, whereas the current sense of the term embraces all forms of thought including mental images obtained through perception. In short it includes all forms of sentience by which the human organism comes to know itself and its environment. This change was to have a major impact upon curriculum reform initiatives in all studies but it was to have a revolutionary impact upon education in the arts for reasons explained later in this essay. However, an adequate story of cognition in the arts cannot be told without a discussion of Eisner's contributions to this discourse. The Waning of Behaviorism For the first half of the twentieth century the psychology that dominated educational practice was behaviorism. Its proponents included psychologists like Edward L. Thorndike, James B. Watson, and B.F. Skinner.2 Each strove to create a science of psychology that would match the rigor of physics or chemistry, where causes in relation to effects would be carefully observed and measured, making the explanation, prediction, and control of phenomena possible, especially those behaviors that fall under the control of the classroom teacher. The formation of connections called stimulus-response (S-R) bonds had become the molar unit to explain learning, much [End Page 71] like the way that differences in the structure of the atom was used to explain the behavior of the chemical elements of the Periodic Table. This bond between environmental stimuli and the organism's response was seen as the elementary unit of behavior while the IQ had become its measure. Invisible notions like mind and imagination were banished to metaphysical philosophy, outside the legitimate bounds of science.Though behaviorists never denied the existence of higher order thinking that is, abstract, sense-free thinking as found in pure mathematics, they were unable to explain how these human capacities emerge through the accumulation of such rudimentary stimulus-response events. Nevertheless, they recognized that humans do have a capacity for thinking that relies heavily upon symbols like words, numbers and the like. Moreover, certain subjects that require reason and logic, like math and theoretical physics, would be inconceivable without such symbols and the rules by which these are manipulated. By contrast it was assumed that the arts, which relied on sensory images, either did not employ this type of propositional thought, or did so to a far lesser degree. Thus the arts could be dispatched to the noncognitive or affective domains with little or no reduction in the learner's cognitive capacities. Indeed, these noncognitive realms, which gave play to feelings and emotions, were often seen as inimical to the acquisition of rational powers of thought. Intellectual power as it was then understood, required that feelings and emotions be brought under the control of reason.As long as behaviorism served as the dominant paradigm, the school curriculum could be divided into two or three broad divisions... (shrink)

"Williams's masterful translation satisfies (at last!) a long-standing need. There are lots of good translations of Augustine's great work, but until now we have been forced to choose between those that strive to replicate in English something of the majesty and beauty of Augustine's Latin style and those that opt instead to convey the careful precision of his philosophical terminology and argumentation. Finally, Williams has succeeded in capturing both sides of Augustine's mind in a richly evocative, impeccably reliable, elegantly readable (...) presentation of one of the most impressive achievements in Western thought--Augustine's Confessions." --Scott MacDonald, Professor of Philosophy and Norma K. Regan Professor in Christian Studies, Cornell University. (shrink)

SNODENT is a dental diagnostic vocabulary incompletely integrated in SNOMED-CT. Nevertheless, SNODENT could become the de facto standard for dental diagnostic coding. SNODENT's manageable size, the fact that it is administratively self-contained, and relates to a well-understood domain provides valuable opportunities to formulate and test, in controlled experiments, a series of hypothesis concerning diagnostic systems. Of particular interest are questions related to establishing appropriate quality assurance methods for its optimal level of detail in content, its ontological structure, its construction and (...) maintenance. This paper builds on previous–software-based methodologies designed to assess the quality of SNOMED-CT. When applied to SNODENT several deficiencies were uncovered. 9.52% of SNODENT terms point to concepts in SNOMED-CT that have some problem. 18.53% of SNODENT terms point to SNOMED-CT concepts do not have, in SNOMED, the term used by SNODENT. Other findings include the absence of a clear specification of the exact relationship between a term and a termcode in SNODENT and the improper assignment of the same termcode to terms with significantly different meanings. An analysis of the way in which SNODENT is structurally integrated into SNOMED resulted in the generation of 1081 new termcodes reflecting entities not present in the SNOMED tables but required by SNOMED's own description logic based classification principles. Our results show that SNODENT requires considerable enhancements in content, quality of coding, quality of ontological structure and the manner in which it is integrated and aligned with SNOMED. We believe that methods for the analysis of the quality of diagnostic coding systems must be developed and employed if such systems are to be used effectively in both clinical practice and clinical research. (shrink)

R.I.G Hughes offers the first detailed and accessible analysis of the Hilbert-space models used in quantum theory and explains why they are so successful.

Elliot Eisner has spent the last 40 years researching, thinking and writing about some of the key and enduring issues in Arts Education, Curriculum Studies and Qualitative Research. He has contributed over 20 books and 500 articles to the field. In this book, Professor Eisner has compiled a career-long collection of his finest pieces-extracts from books, key articles, salient research findings and major theoretical contributions-so the world can read them in a single manageable volume. Starting with a specially written Introduction, (...) which gives an overview of Professor Eisner's career and contextualizes his selection, the chapters cover a wide range of issues, including: · Children and art · The use of educational connoisseurship · Aesthetic modes of knowing · Absolutism and relativism in curriculum theory · Education reform and the ecology of schooling · The future of education research This is a must-have book for anyone wishing to know more about the development of Arts Education, Curriculum Studies and Qualitative Research over the last four decades, and about Elliot Eisner's contribution to these exciting fields. This book is part of the World Library of Educationalists series, which celebrates the contributions made to education by leading figures. Each scholar has selected his or her own key writings from across numerous books and journal articles, and often spread across two or more decades to be presented in a single volume. Through these books, readers can chase up the themes and strands that have been lodged in a lifetime's work, and so follow the development of these scholars' contributions to the field, as well as the development of the fields themselves. Other scholars included in the series: Richard Aldrich, Stephen J. Ball, John Elliott, Howard Gardner, John Gilbert, Ivor F. Goodson, David Hargreaves, David Labaree, E.C. Wragg, John White. (shrink)

The arguments in favor of the Principle of Indifference fail to explain its fruitfulness in science. Using the recent metaphysical concept of Grounding, I devise an explanation that can justify a weak version of the principle and discuss an instance of its application in Quantum mechanics.

In the Bayesian framework, a language learner should seek a grammar that explains observed data well and is also a priori probable. This paper proposes such a measure of prior probability. Indeed it develops a full statistical framework for lexicalized syntax. The learner's job is to discover the system of probabilistic transformations (often called lexical redundancy rules) that underlies the patterns of regular and irregular syntactic constructions listed in the lexicon. Specifically, the learner discovers what transformations apply in the language, (...) how often they apply, and in what contexts. It considers simpler systems of transformations to be more probable a priori. Experiments show that the learned transformations are more effective than previous statistical models at predicting the probabilities of lexical entries, especially those for which the learner had no direct evidence. (shrink)

This book offers a critical introduction to the work of American philosopher D. G. Leahy (1937-2014). Leahy's fundamental thinking can be characterized as an absolute creativity in which all creating is 'live' -- a happening occurring now that manifests a supersaturated polyontological actuality that is essentially created by the logic that characterizes it. Leahy leaves behind the categorial presuppositions of modern thought, eclipsing both Cartesian and Hegelian subjectivities and introducing instead an essentially new form of thinking founded in a nondual (...) logic of creation. The new thinking delineates the absolute unicity of existence as a creative interactivity beyond all traditional dichotomies (such as one vs. many, unity vs. plurality, identity vs. change): a fully "digitized" actuality that is nothing but newness, which inherently implies nothing but change. Through this new form of thinking, change itself is revealed to be the very essence of reality and mind. Any reader looking for a quantum leap beyond the thrall of modern and postmodern fixations is invited to hear and apprehend this new thinking that refuses to be conditioned by paradigms, categories, species, genera, walls, bridges, boundaries, or abstractions: an essentially free thinking that embodies creative novelty itself. (shrink)

In this first paperback edition, a new introduction by Tom Burke establishes the ongoing importance of Sleeper's analysis of the integrity of Dewey's work and ...

In lieu of an abstract, here is a brief excerpt of the content:Response to Arthur Efland's and Richard Siegesmund's Reviews of The Arts and the Creation of MindElliot W. Eisner, Lee Jacks Professor of Education and Professor of ArtWhen I was invited by the Editor of The Journal of Aesthetic Education to respond to two unidentified reviews of my latest book, The Arts and the Creation of Mind, I thought that I would encounter a bevy of negatively critical comments, which (...) would give me the opportunity to respond equally as critically to theirs. Fortunately — perhaps unfortunately — the reviews prepared by Arthur Efland and Richard Siegesmund are not in the least bit negative. This, of course, is a boon to the book's author, but a bane to the creation of lively debate. I am happy to say that though their purposes differ, both Efland and Siegesmund got it essentially right. Efland's comments put my work in a historical context, particularly the emergence of interest in cognition and, in general, in the higher mental processes as they were called during the 1960s, 1970s, and 1980s. It is true that interest in cognition was in the air at that time, in the field of philosophy, and in the fields of linguistics and psychology as well. My own work is a part of that particular zeitgeist in the twentieth century.I was not aware at the time that I was being influenced by such a broad movement, but, alas or alack, I was. In some ways, the writing that John Dewey did during the early and mid 1930s, particularly his work on art as rendered in Art as Experience, presaged the interest linguists, psychologists, and philosophers developed in the conditions of communication and its relationship to symbolic systems and thought.1 Dewey has been a major influence on my thinking as have Susanne Langer and later Nelson Goodman.2 [End Page 96] The historical perspective that Efland provides is a useful accounting of where ideas about cognition were and where they are now. I do not know whether I have extended the thinking that is being done on cognition, but I certainly have tried to provide a fulsome account of the connections between cognition and the educational mission of the arts, especially the visual arts. Efland's historical portrayal is a useful picture of the period and, I would say, the significance of this way of thinking for education.Siegesmund pushes farther than Efland, in my view, into the sources of human understanding, particularly the function of somatic knowledge in grasping, or better yet, framing meaning. His notion of what might perhaps best be called visual reasoning marries two concepts that are seldom related; the visual and the reasonable. Reason is often associated with matters of logic, and matters of logic pertain to connections between language in its formal sense and with the relationships among numbers within numerical systems. Qualitative relationships are not typically regarded as manifestations, even at their best, of rational forms of thinking. Emotional, yes. Rational, no. As readers of my works know, I reject that conception of the limits of human rationality and Siegesmund does as well. His focus on embodied knowledge, or what is sometimes called somatic knowledge, is a promising conception of the sources of choice and judgment. There is, after all, more known than what can be told, to paraphrase Michael Polayni.3What pleases me most about Siegesmund's account of my work is its receptivity to the students he teaches. The ultimate educational test of any piece of writing is the extent to which people see meaning in it and apparently, at least for the students that Siegesmund teaches, meaning for most is there. I am pleased. What I have always tried to do in my work is to avoid prescribing recipes or formulaic procedures because I do not believe either works very well when one is working with human beings, but rather to provide concepts through which the educational world can be viewed, practice reflected upon, options identified, and action taken. Apparently these aims are being met in some university classrooms in which The Arts and the Creation of Mind is being used. One caveat.Although it is true, as... (shrink)

Leibniz uses the concept of probability in both epistemic and non-epistemic contexts, as do many of his contemporaries. Some commentators have claimed that this dual-use is inexact or confused. In this paper, I describe Leibniz’s understanding of the concept of probability and discuss its dual usage in his work. Then, building on Leibniz’s creation theory, in conjunction with Russell’s interpretation of the Principle of Sufficient Reason, I endeavor to justify this dual usage and to show that this justification is also (...) valuable for the contemporary discussion of the concept of probability. Published on 2022-12-28 10:04:03. (shrink)

The past two decades have witnessed the emergence of corporateassociation- and standards-based forms of environmental selfregulation. Private environmental governance is commonly presented as being a market-driven phenomenon. Firms seek to manage their environmental impacts as a means of achieving cost-based or differentiation-based advantages. Yet, these innovations are necessarily embedded in the regulatory policies and institutions of nation states and thus subject to the dynamics of regulatory change. Historically, economic crises have stimulated significant regulatory changes that have, more often than not, (...) resulted in an expansion of public regulation and a diminution of self-regulation. This Article considers the ramifications of the global financial crisis for the development of private environmental governance. (shrink)

This book is not a study of Plato's philosophy, but a contribution to the literary interpretation of the dialogues, through analysis of their formal structure, ...

Linking the process of rational decision making to emotions, an award-winning scientist who has done extensive research with brain-damaged patients notes the dependence of thought processes on feelings and the body's survival-oriented regulators. 50,000 first printing.