Focusing on the plurality of irreconcilable conceptions of social and political justice, this book presents an array of new perspectives on the topic of distributive justice. Bringing together 30 original essays of well-established and young international scholars, the volume is essential reading for anyone interested in social and political justice.

The concept of distributive justice and its history are far more complex than most contemporary scholars are aware of. This introduction to the volume "New Perspectives on Distributive Justice" elucides the different meanings of the concept in the tradition of Plato and Aristotle on the one hand, and in contemporary political philosophy on the other.

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

This essay explores claims made frequently by artists, critics, and philosophers that artworks bear personifying traits. Rejecting the notion that artists possess the Pygmalion-like power to bring works of art to life, the article looks seriously at how parallels may exist between the ontological structures of the artwork and human personhood. The discussion focuses on Arthur Danto’s claim that the “artworld” itself manifests properties that are an imprint of the historical representation of the “world.” These “world” representations are implicitly embodied (...) in the artist’s style. The “world” that is stamped on the people of a historical period entails a point of view that influences how they might act, something like the logic that guides a conversation. This “conversational” logic is also extant in the artworks that artists of a given period create. This analysis of Danto’s account of how people are connected to their world clarifies Danto’s assertions that a parallel structure of personification in the artwork and the human exists. It also explains his claims that artworks themselves appear to be in a kind of dialogue. (shrink)

Distributive justice is one of the most discussed topics in political philosophy. Focusing on the plurality of irreconcilable conceptions of social and political justice, this book presents an array of new perspectives on the topic. Bringing together 30 original essays of well-established and young international scholars, the volume is essential reading for anyone interested in social and political justice.

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...) plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...) a transitory mode of mind, a vehicle, which aims to raise spirit to the higher cognition of philosophy. When the unfolding absolute concept becomes too complex for articulation in the material, art must end, as spirit’s message can be expressed only through the non-material form of philosophy. This study focuses on the ambivalence found in Hegel’s writings regarding his account of historical completion. Though Hegel sees in the Absolute a metaphysical solution to the unity of subject and object, the practical aspects of the unity appear to falter when philosophy becomes the dominant mode of expression at the close of a historical cycle. In Lectures on the History of Philosophy, Hegel links his notion of the Absolute, albeit with modification, to Aristotle’s nous. As described in De Anima, this entails a progression in which active and possible intellect rise to the level of the eternal, while passive intellect, the imaginative element, passes on with the body. Because the architecture of Aristotle’s nous, which is not in line with his defense of poetry, is integrated into the blueprint of Hegel’s absolute, an unresolved tension emerges in the spirit of art. A divergence of aims is forced to the surface through Hegel’s application of a template for achievement of theoretical knowledge, with an end in the universal, to a form of practical knowing which has an end in the particular. (shrink)

This paper investigates Danto’s claims that the narrative of art is over. In this state, which Danto sees as ideal, art is free from any master narrative, and its direction cannot be predicted. The claim that art ought to remain in its current state—pluralistic, free and with no further historical development—is problematic. Danto is correct that late 20th c. art could not be explained through a single narrative, and the myriad forms art takes demonstrate its pluralism. But Danto’s claim that (...) freedom is the outcome of inexplicability, and progress is measured by amenability to narrative, does not follow. Based on Gombrich’s theory of pictorial representation, I provide an alternative explanation of Danto’s claim that art no longer manifests the narrative of the era of art, arguing that the shift in art’s preferred form of presentation, though no longer supporting narrative explanation, is developing as a language of disclosure. (shrink)

This essay discusses the mounted image of St. George slaying an emperor within the broader context of how and why early Christian images were transformed and adapted to the early Byzantine religious style. The representational framework of Arthur Danto’s philosophical system is used to tie together the threads of this research. By drawing parallels between changes in contemporary art and culture – often referred to as the modern/postmodern shift – and the transition of the Hellenistic to the Byzantine era, structures (...) common to artistic creation and reception are brought to the fore. The case study presents the history of the depiction of St. George slaying Diocletian, how it emerged in the Caucasus region, and the manner in which it reflects the stylistic changes that took place in the late antique eastern Roman world. The social, cultural and philosophical ramifications of the shift of high classical art to the early Byzantine style are laid out in terms of art, modes of inquiry, and action-orientation. A theory is presented on what role the image of St. George killing Diocletian may have played in transforming the late antique and early medieval worldview. The final section sketches a philosophical framework that supports the conclusions of this research. (shrink)

This book examines the little understood end-of-art theses of Hegel, Nietzsche, and Danto. The end-of-art claim is often associated with the end of a certain standard of taste or skill. However, at a deeper level, it relates to a transformation in how we philosophically understand our relation to the ‘world’. Hegel, Nietzsche, and Danto each strive philosophically to overcome Cartesian dualism, redrawing the traditional lines between mind and matter. Hegel sees the overcoming of the material in the ideal, Nietzsche levels (...) the two worlds into one, and Danto divides the world into representing and non-representing material. These attempts to overcome dualism necessitate notions of the self that differ significantly from traditional accounts; the redrawn boundaries show that art and philosophy grasp essential but different aspects of human existence. Neither perspective, however, fully grasps the duality. The appearance of art’s end occurs when one aspect is given priority: for Hegel and Danto, it is the essentialist lens of philosophy, and, in Nietzsche’s case, the transformative power of artistic creativity. Thus, the book makes the case that the end-of-art claim is avoided if a theory of art links the internal practice of artistic creation to all of art’s historical forms. (shrink)

. This paper discusses the transformative power of aesthetic narrative within the framework of Nietzsche’s theory of transvaluation. The transformative power of creative narrative is the power to give meaning to life’s activity by keeping ahead of forces that would deny it. The power of aesthetic transvaluation plays a fundamental role in the dynamic of the resistance movement that sprang from the Gezi Park sit-ins. The movement erupted with an aesthetic intensity that surprised detractors as well as supporters, employing aesthetic (...) creativity in a way that sets it apart from other protests in Turkey and the Arab world. On several levels, the young movement has become a form of artistic protest. Striking parallels are found in Nietzsche’s aesthetic claim that the existential transformation of one’s narrative is the principle aim of the artist and the dynamic action of the people in Turkey who resist what they feel is an encroachment on their democratic rights and their way of life. The point of the essay, however, is not merely to illustrate the parallels. It is to examine how aesthetic imagination plays a role in forming a narrative that conjures meaning solely through creative fiat, showing how the power of transvaluation is manifested in the Gezi Park resistance. (shrink)

This is a review of Michael Kelly's _Iconoclasm in Aesthetics_.

Is evil evidence against the existence of God? Even if God and evil are compatible, it remains hotly contested whether evil renders belief in God unreasonable. The Evidential Argument from Evil presents five classic statements on this issue by eminent philosophers and theologians and places them in dialogue with eleven original essays reflecting new thinking by these and other scholars. The volume focuses on two versions of the argument. The first affirms that there is no reason for God to permit (...) either certain specific horrors or the variety and profusion of undeserved suffering. The second asserts that pleasure and pain, given their biological role, are better explained by hypotheses other than theism. -/- Contributors include William P. Alston, Paul Draper, Richard M. Gale, Daniel Howard-Snyder, Alvin Plantinga, William L. Rowe, Bruce Russell, Eleonore Stump, Richard G. Swinburne, Peter van Inwagen, and Stephen John Wykstra. (shrink)

“Divine hiddenness”, as the phrase suggests, refers, most fundamentally, to the hiddenness of God, i.e., the alleged fact that God is hidden, absent, silent. In religious literature, there is a long history of expressions of annoyance, anxiety, and despair over divine hiddenness, so understood. For example, ancient Hebrew texts lament God’s failure to show up in experience or to show proper regard for God’s people or some particular person, and two Christian Gospels portray Jesus, in his cry of dereliction on (...) the cross, as experiencing abandonment by God, whom he regarded as “Abba, Father”, an experience shared by many mystics, saints, and ordinary folk of all theistic traditions, described at its worst as “the dark night of the soul”. Understood in this way, divine hiddenness poses an existential problem for those who have such experiences. -/- However, “divine hiddenness” refers to something else in recent philosophical literature, especially since the publication of J.L. Schellenberg’s landmark book, Divine Hiddenness and Human Reason (1993). In this context, it refers to alleged facts about the absence of belief of God, on the basis of which one might think there is no God. For example, Schellenberg argues that, since there are nonbelievers who are capable of a personal relationship with God and who do not resist it, there is no perfectly loving God, while Stephen Maitzen argues that naturalism better explains the “demographics” of nonbelief than theism and Jason Marsh argues that naturalism better explains “natural nonbelief” than theism. Understood in this way, divine hiddenness constitutes putative evidence for atheism. -/- Although some of the recent philosophical literature addresses the problem understood in the first way (e.g., DeWeese-Boyd 2016; Garcia 2002), this entry focuses on divine hiddenness understood in the second way. The first section discusses the relationships between nonbelief and another source of alleged evidence for atheism: evil. The second section states and defends the argument from nonresistant nonbelief. The third section sketches attempts to explain nonresistant nonbelief from a theistic perspective. The fourth section states other responses to the argument from nonresistant nonbelief. The fifth section discusses the argument from the demographics of nonbelief and the sixth section discusses the argument from natural nonbelief. (shrink)

According to Agnosticism with a capital A, even if we don’t see how any reason we know of would justify God in permitting all the evil in the world and even if we lack evidential and non-evidential warrant for theism, we should not infer that there probably is no reason that would justify God. That’s because, under those conditions, we should be in doubt about whether the goods we know of constitute a representative sample of all the goods there are, (...) among relevantly similar things. In my "Epistemic Humility, Arguments from Evil, and Moral Skepticism" (2009), I defended Agnosticism against the charge that it leaves us in doubt about whether we are obligated to intervene to prevent horrific suffering we can prevent at no risk to ourselves. In his “Agnosticism, Skeptical Theism, and Moral Obligation” (2014), Stephen Maitzen argues that, in light of my defense, Agnosticism is at odds with commonsense morality’s insistence that we have an obligation to intervene in such cases. In the present essay, I argue that the moral principle Maitzen seems to impute to commonsense (it's hard to tell what principle he has in mind) is false and that a moral principle much more in keeping with commonsense is compatible with Agnosticism and my defense of it. Along the way, I mention multiple misrepresentations Maitzen makes of Agnosticism and my defense of it. (shrink)

Skeptical theism combines theism with skepticism about our capacity to discern God’s morally sufficient reasons for permitting evil. Proponents have claimed that skeptical theism defeats the evidential argument from evil. Many opponents have objected that it implies untenable moral skepticism, induces appalling moral paralysis, and the like. Recently Daniel Howard-Snyder has tried to rebut this prevalent objection to skeptical theism by rebutting it as an objection to the skeptical part of skeptical theism, which part he labels “Agnosticism” (with an (...) intentionally capital “A”). I argue that his rebuttal fails as a defense of Agnosticism against the objection and even more so as a defense of skeptical theism. (shrink)

Applying Snyder and Feldman's 1984 consolidation‐transition model to moral judgement development has enabled further understanding of how moral judgement translates to moral functioning. In this study, 178 college students were identified as being in consolidated versus transitional phases of moral judgement development using Rest's Defining Issues Test (DIT). Participant moral functioning was inferred through an honest decision‐making index along with Attitudes Towards Human Rights Inventory (ATHRI) and Volunteer Functions Inventory (VFI) scores. Multivariate Analyses of Variance revealed that the consolidated (...) group was significantly more honest than the transitional group. No differences attributable to moral judgement phase were seen for ATHRI and VFI scores. Findings support the claim that consolidated phases improve the explanatory power of moral judgement for certain moral functional outcomes—particularly those involving ambiguity and minimal time for decision‐making. (shrink)

A review of Stephen Snyder’s End-of-Art Philosophy in Hegel, Nietzsche and Danto.

It is common for young Christians to go off to college assured in their beliefs but, in the course of their first year or two, they meet what appears to them to be powerful defenses of scientific naturalism and crushing critiques of the basic Christian story (BCS), and many are thrown into doubt. They think to themselves something like this: "To be honest, I am troubled about the BCS. While the problem of evil, the apparent cultural basis for the diversity (...) of religions, the explanatory breadth of contemporary science, naturalistic explanations of religious experience and miracle reports, and textual and historical criticism of the Bible, among other things, don’t make me believe the BCS is false , I am in serious doubt about it, so much so that I lack belief of it. In that case, how can I have Christian faith? And if I don’t have faith, how can I keep on praying, attending church, affirming the creed, confessing my sins, taking the sacraments, singing the hymns and songs, and so on? I can’t, unless I’m a hypocrite. So integrity requires me to drop the whole thing and get out." Of course, our student is not alone. Many Christians find themselves for some portion of their lives somewhere on the trajectory from doubt to getting out. Indeed, Christians in the West struggle with intellectual doubt more than they used to, especially university-educated Christians. What should we say to them? Some will say “Get out!,” welcoming the development as a path to liberation. We explore a different response in this essay. (shrink)

A brief article on faith as a psychological attitude.

A core commitment of Bob Hale and Crispin Wright’s neologicism is their invocation of Frege’s Constraint—roughly, the requirement that the core empirical applications for a class of numbers be “built directly into” their formal characterization. According to these neologicists, if legitimate, Frege’s Constraint adjudicates in favor of their preferred foundation—Hume’s Principle—and against alternatives, such as the Dedekind–Peano axioms. In this paper, we consider a recent argument for legitimating Frege’s Constraint due to Hale, according to which the primary empirical application of (...) the naturals is transitive counting, or answering ‘how many’-questions using numerals. We make two claims regarding Hale’s argument. First, it fails to legitimate Frege’s Constraint in virtue of resting on unsupported and highly contentious assumptions. Secondly, even if sound, Hale’s argument would vindicate a version of Frege’s Constraint which fails to adjudicate in favor of Hume’s Principle over alternative characterizations of the naturals. (shrink)

A Brief History of Time: From the Big Bang to Black Holes is a popular-science book on cosmology (the study of the origin and evolution of the universe) by British physicist Stephen Hawking. It was first published in 1988. Hawking wrote the book for readers who have no prior knowledge of the universe and people who are interested in learning.

Basic concepts -- Identifying arguments -- Logic and language -- Informal fallacies -- Categorical logic: statements -- Categorical logic: syllogisms -- Statement logic: truth tables -- Statement logic: proofs -- Predicate logic -- Induction -- Probability.

A critique of Plantinga's free will defense. For an updated version of this critique, with a reply to objections from William Rowe and Alvin Plantinga, see my "The logical problem of evil: Plantinga and Mackie," in Justin P. McBrayer & Daniel Howard‐Snyder (eds.), The Blackwell Companion to the Problem of Evil, Wiley-Blackwell, 2013, pp. 19-33.

This book explores and defends George Saunders’ causal thesis that successful stories are those that establish causation well. The book includes an in-depth discussion of causation’s role in several different key craft elements of fiction writing and examines different theories of causation and their implications for causation in fiction. Other discussions include the role of causation in building suspense, character and causation, causation in dialogue and connections between fiction and counterfactuals (or hypotheticals). The book also considers a number of objections (...) to the causal thesis and offers a reply. (shrink)

A comprehensive reassessment of the concept of mimesis in the history of ancient Greek aesthetics and philosophy of art, with particular attention to Plato, Aristotle, Hellenistic philosophy, and neoplatonism. There is also a wide-ranging review of arguments pro and contra the idea of artistic mimesis from the Renaissance to modern literar theory. The book challenges standard accounts in numerous respects and builds a new dialectical model with which to make sense of the entire history of mimeticist thinking in aesthetics.

Most philosophers are familiar with the metaphysical puzzle of the statue and the clay. A sculptor begins with some clay, eventually sculpting a statue from it. Are the clay and the statue one and the same thing? Apparently not, since they have different properties. For example, the clay could survive being squashed, but the statue could not. The statue is recently formed, though the clay is not, etc. Godehart Link 1983’s highly influential analysis of the count/mass distinction recommends that English (...) draws a distinction between uncountable “stuff” and countable “things”. There are two mereological relations, related in specific ways. Our primary question here is whether an empirically adequate account of the mass/count distinction really does require distinguishing “things” from “stuff”, and thus postulating two corresponding mereological relations, or if instead positing only one sort of entity and corresponding mereological relation is sufficient, as other semantic theories would have it. This question is meant to be one of what we call natural language mereology. We are asking about the mereological commitments of English, or perhaps competent speakers of English, and not about ultimate reality as such. There is no pretense that we will definitively solve the metaphysical puzzle of the statue and clay. (shrink)

The concept of minimal risk has been used to regulate and limit participation by adolescents in clinical trials. It can be understood as setting an absolute standard of what risks are considered minimal or it can be interpreted as relative to the actual risks faced by members of the host community for the trial. While commentators have almost universally opposed a relative interpretation of the environmental risks faced by potential adolescent trial participants, we argue that the ethical concerns against the (...) relative standard may not be as convincing as these commentators believe. Our aim is to present the case for a relative standard of environmental risk in order to open a debate on this subject. We conclude by discussing how a relative standard of environmental risk could be defended in the specific case of an HIV vaccine trial among adolescents in South Africa. (shrink)

We often hear stories of people in terrible and seemingly intractable situations that are preyed upon by individuals offering empty promises of help. Frequently these cases are condemned as "exploiting the hope" of another. These accusations are made in a range of contexts, including human smuggling, the beauty industry, and unproven medical interventions. This concept is meant to do heavy lifting in public discourse, identifying a specific form of unethical conduct. However, it is poorly understood what is intended to be (...) wrong by exploiting hope, the range of activities that can accurately be captured under this concept, and what should be done about it. Thus, it is an ethical concept that is ripe for extended analysis and discussion. (shrink)

Many of us think that we just aren't enough. Not good enough, not pretty enough, not rich enough, and not happy enough. But just because we think something doesn't mean it's true. You are more than you think you are teaches you how to revise your belief system, fulfill your deepest dreams and desires, and create an epic, successful, and inspiring life. Unlocking your True Self is the key to new levels of joy, beauty, and peace. But what is the (...) True Self, and how can you realize its infinite potential? In this easy-to-read book, Kimberly Snyder answers these questions and shows you how to tap into this unstoppable force to transform every aspect of your life for the better. Drawing inspiration from the teachings of the great guru Paramahansa Yogananda along with personal stories and the latest scientific research, Kimberly offers simple exercises, potent ancient practices, and in-depth meditations to help you overcome negative beliefs and see yourself as you truly are--a goddess, a warrior, a lover, and a creator of your extraordinary destiny" -- Back cover. (shrink)

Aboutness has been studied from any number of angles. Brentano made it the defining feature of the mental. Phenomenologists try to pin down the aboutness-features of particular mental states. Materialists sometimes claim to have grounded aboutness in natural regularities. Attempts have even been made, in library science and information theory, to operationalize the notion. But it has played no real role in philosophical semantics. This is surprising; sentences have aboutness-properties if anything does. Aboutness is the first book to examine through (...) a philosophical lens the role of subject matter in meaning. A long-standing tradition sees meaning as truth-conditions, to be specified by listing the scenarios in which a sentence is true. Nothing is said about the principle of selection--about what in a scenario gets it onto the list. Subject matter is the missing link here. A sentence is true because of how matters stand where its subject matter is concerned. Stephen Yablo maintains that this is not just a feature of subject matter, but its essence. One indicates what a sentence is about by mapping out logical space according to its changing ways of being true or false. The notion of content that results--directed content--is brought to bear on a range of philosophical topics, including ontology, verisimilitude, knowledge, loose talk, assertive content, and philosophical methodology. Written by one of today's leading philosophers, Aboutness represents a major advance in semantics and the philosophy of language. (shrink)

Most philosophers are familiar with the metaphysical puzzle of the statue and the clay. A sculptor begins with some clay, eventually sculpting a statue from it. Are the clay and the statue one and the same thing? Apparently not, since they have different properties. For example, the clay could survive being squashed, but the statue could not. The statue is recently formed, though the clay is not, etc. Godehart Link 1983’s highly influential analysis of the count/mass distinction recommends that English (...) draws a distinction between uncountable “stuff” and countable “things”. There are two mereological relations, related in specific ways. Our primary question here is whether an empirically adequate account of the mass/count distinction really does require distinguishing “things” from “stuff”, and thus postulating two corresponding mereological relations, or if instead positing only one sort of entity and corresponding mereological relation is sufficient, as other semantic theories would have it. This question is meant to be one of what we call natural language mereology. We are asking about the mereological commitments of English, or perhaps competent speakers of English, and not about ultimate reality as such. There is no pretense that we will definitively solve the metaphysical puzzle of the statue and clay. (shrink)

The stories in this book offer strategies and practices for applying systems thinking in education to unleash human energy for the journey of continuous improvement.

In Return to Reason, Stephen Toulmin argues that the potential for reason to improve our lives has been hampered by a serious imbalance in our pursuit of ...

The Management of Scientific Integrity within Academic Medical Centers discusses the impact scientific misconduct has in eight complex case studies. Authors look at multifaceted mixtures of improper behavior, poor communication, cultural issues, adverse medical/health issues, interpersonal problems and misunderstandings to illustrate the challenge of identifying and managing what went wrong and how current policies have led to the establishment of quasi legal processes within academic institutions. The book reviews the current global regulations and concludes with a section authored by a (...) US federal court judge who provides his perspective on the adequacy of current regulations and policies. (shrink)