This chapter contains sections titled: The First Way – The Argument from Motion The Second Way – The Argument from Causation The Third Way – The Argument from Possibility and Necessity The Fourth Way – The Argument from Gradation The Fifth Way – The Argument from the Governance.

After presenting the “first and more manifest way” of proving the existence of God by reason alone in Summa Theologiae Ia, 2, 3, Saint Thomas Aquinas continues this project by turning in the “Second Way” to what he somewhat enigmatically calls “the nature of the efficient cause.” The greatest obstacle to understanding his Second Way, though, is determining precisely what Aquinas means by “the nature of the efficient cause” and “an order of efficient causes,” and how the (...) class='Hi'>Second Way is distinct from the First and Third Ways. This paper shows that instead of purporting to demonstrate God's existence as the cause of metaphysical being, as is commonly supposed, Aquinas is actually searching for the ultimate cause of immanent activity in rational beings. It argues for this reading both from textual evidence internal to the Second Way and in the First Way. (shrink)

Evidentialism is the thesis that all reasons to believe p are evidence for p. Pragmatists hold that pragmatic considerations – incentives for believing – can also be reasons to believe. Nishi Shah, Thomas Kelly and others have argued for evidentialism on the grounds that incentives for belief fail a ‘reasoning constraint’ on reasons: roughly, reasons must be considerations we can reason from, but we cannot reason from incentives to belief. In the first half of the paper, I show that this (...) argument fails: the claim that we cannot reason from incentives is either false or does not combine with the reasoning constraint to support evidentialism. However, the failure of this argument suggests an alternative route to evidentialism. Roughly, reasons must be premises of good reasoning, but it is not good reasoning to reason from incentives to belief. The second half of the paper develops and defends this argument for evidentialism. (shrink)

The Wide-Scope view of instrumental reason holds that you should not intend an end without also intending what you believe to be the necessary means. This, the Wide-Scoper claims, provides the best account of why failing to intend the believed means to your end is a rational failing. But Wide-Scopers have struggled to meet a simple Explanatory Challenge: why shouldn't you intend an end without intending the necessary means? What reason is there not to do so? In the first half (...) of this paper, I argue that the Wide-Scope view struggles to meet this challenge because it takes the principles of instrumental reason to have unlimited application—to apply to all agents, in all circumstances. I then go on to offer a new account of these principles. The new account is very much in the spirit of the Wide-Scope view, and shares its central advantages, but lacks its unlimited application. This view should, therefore, find the Explanatory Challenge more tractable. In the second half of the paper, I argue that this prediction is confirmed. If the requirements of instrumental reason apply only when a means is, or is believed to be, necessary for your end, then plausible independent claims, about reasons, rationality, and intentions, explain why failing to intend the necessary means to your ends is a rational failing. (shrink)

In this paper, we claim that, if you justifiably believe that you ought to perform some act, it follows that you ought to perform that act. In the first half, we argue for this claim by reflection on what makes for correct reasoning from beliefs about what you ought to do. In the second half, we consider a number of objections to this argument and its conclusion. In doing so, we arrive at another argument for the view that justified (...) beliefs about what you ought to do must be true, based in part on the idea that the epistemic and practical domains are uniform, in a sense we spell out. We conclude by sketching possible implications of our discussion for the debates over what is wrong with akrasia and pragmatic encroachment on justified belief and knowledge. (shrink)

This paper defends a 'fitting attitudes' view of value on which what it is for something to be good is for there to be reasons to favour that thing. The first section of the paper defends a 'linking principle' connecting reasons and value. The second and third sections argue that this principle is better explained by a fitting-attitudes view than by 'value-first' views on which reasons are explained in terms of value.

What makes the difference between good and bad reasoning? In this paper we defend a novel account of good reasoning—both theoretical and practical—according to which it preserves fittingness or correctness: good reasoning is reasoning which is such as to take you from fitting attitudes to further fitting attitudes, other things equal. This account, we argue, is preferable to two others that feature in the recent literature. The first, which has been made prominent by John Broome, holds that the standards of (...) good reasoning derive from rational requirements. The second holds that these standards derive from reasons. We argue that these accounts face serious difficulties in correctly distinguishing good from bad reasoning, and in explaining what's worthwhile about good reasoning. We then propose our alternative account and argue that it performs better on these counts. In the final section, we develop certain elements of the account in response to some possible objections. (shrink)

The aim of this article is to analyse the relation between the second law of thermodynamics and the so-called arrow of time. For this purpose, a number of different aspects in this arrow of time are distinguished, in particular those of time-reversal (non-)invariance and of (ir)reversibility. Next I review versions of the second law in the work of Carnot, Clausius, Kelvin, Planck, Gibbs, Caratheodory and Lieb and Yngvason, and investigate their connection with these aspects of the arrow of (...) time. It is shown that this connection varies a great deal along with these formulations of the second law. According to the famous formulation by Planck, the second law expresses the irreversibility of natural processes. But in many other formulations irreversibility or even time-reversal non-invariance plays no role. I therefore argue for the view that the second law has nothing to do with the arrow of time. (shrink)

This book has two main aims. First, it develops and defends a constitutive account of normative reasons as premises of good reasoning. This account says, roughly, that to be a normative reason for a response (such as a belief or intention) is to be premise of good reasoning, from fitting responses, to that response. Second, building on the account of reasons, it develops and defends a fittingness-first account of the structure of the normative domain. This account says that there (...) is a single normative property, fittingness, which is normatively basic, and on which all other normative properties depend. On this view, reasons, oughts, value, and other normative phenomena all ultimately depend on fittingness. The account of normative reasons is a part of this general view of the normative domain. The book begins, in Chapter 1, by motivating the account of reasons as premises of good reasoning. Chapter 2 argues that good reasoning is, roughly, reasoning that preserves fittingness. Chapter 3 addresses the question of what fittingness is. Chapter 4 defends constitutive accounts of evaluative properties, like goodness, in terms of fitting attitudes. Chapters 5 and 6 shows how the view provides an attractive account of how reasons determine the deontic status of a response—whether you ought or may so respond. Chapter 7 addresses some challenges concerning certain reasons for belief, the relationship between reasons for action and reasons for intention, and reasons for emotion. (shrink)

This book has two main aims. First, it develops and defends a constitutive account of normative reasons as premises of good reasoning. This account says, roughly, that to be a normative reason for a response (such as a belief or intention) is to be premise of good reasoning, from fitting responses, to that response. Second, building on the account of reasons, it develops and defends a fittingness-first account of the structure of the normative domain. This account says that there (...) is a single normative property, fittingness, which is normatively basic, and on which all other normative properties depend. On this view, reasons, oughts, value, and other normative phenomena all ultimately depend on fittingness. The account of normative reasons is a part of this general view of the normative domain. The book begins, in chapter 1, by motivating the account of reasons as premises of good reasoning. Chapter 2 argues that good reasoning is, roughly, reasoning that preserves fittingness. Chapter 3 addresses the question of what fittingness is. Chapter 4 defends constitutive accounts of evaluative properties, like goodness, in terms of fitting attitudes. Chapters 5 and 6 shows how the view provides an attractive account of how reasons determine the deontic status of a response – whether you ought or may so respond. Chapter 7 addresses some challenges concerning certain reasons for belief, the relationship between reasons for action and reasons for intention, and reasons for emotion. (shrink)

Observations have been made about branding’s shift from a material to conceptual focus. Consequently, corporate branding has become more focused on associating and imbuing corporate brands with supposedly positive values and attributes. This article locates this emphasis in the context of Singapore’s marketized higher education sector, and examines how conceptual values like flexibility, freedom and empowerment are expressed linguistically and, more significantly, symbolized in and through photographic images in corporate brand communication. It is argued that while the circulation of conceptual (...) values in branding has arisen in part due to the imperatives of branding, the privileging of values like flexibility, freedom and empowerment is symptomatic of neoliberal capitalist influence and the subjection of higher education in Singapore to a knowledge-based economic logic. This helps to shape stakeholders’ concepts and expectations of higher education as well as public attitudes towards the neoliberal knowledge-based market system more broadly. (shrink)

Thomas Aquinas devoted a substantial proportion of his greatest works to the virtues. Yet, despite the availability of these texts, Aquinas’s virtue ethics remains mysterious, leaving readers with many unanswered questions. In this book, Pinsent argues that the key to understanding Aquinas’s approach is to be found in an association between: a) attributes he appends to the virtues, and b) interpersonal capacities investigated by the science of social cognition, especially in the context of autistic spectrum disorder. The book uses this (...) research to argue that Aquinas’s approach to the virtues is radically non-Aristotelian and founded on the concept of second-person relatedness. To demonstrate the explanatory power of this principle, Pinsent shows how the second-person perspective gives interpretation to Aquinas’s descriptions of the virtues and offers a key to long-standing problems, such as the reconciliation of magnanimity and humility. The principle of second-person relatedness also interprets acts that Aquinas describes as the fruition of the virtues. Pinsent concludes by considering how this approach may shape future developments in virtue ethics. (shrink)

For all the strengths the recent recovery of the virtues brings to moral philosophy, opponents of virtue-based theories claim that such theories cannot do the essential work of guiding action. This dissertation responds to that objection by drawing upon Thomas Aquinas's account of the four cardinal virtues in the secunda pars of the Summa Theologiae. I argue that Aquinas's moral theory has an emphasis on the virtues such that proper attention is given to the character of the agent, but at (...) the same time, it also gives sufficient evaluative importance to particular actions and enough practical advice about action to counter any worry that a virtue theory's emphasis on character precludes its ability to offer anything beyond vague and unhelpful recommendations for practice. ;Chapters one and two lay out the objection and the virtue theorist's two strategies for answering it. Those strategies include, first, making the demand for action-guidingness reasonable and appropriate to the limits of moral theory, and second, offering evidence that virtue theories can indeed meet the demand. Through a constructive account of Aquinas's thought on each of the four cardinal virtues and their complex relationships to action and practical guidance, I argue in chapters three through six that Aquinas's moral theory uses both strategies effectively to answer the action-guiding objection. From this study of Aquinas on the virtues, I conclude in chapter seven that not only does his theory successfully meet the objector's challenge, but further, by introducing at least three new ways to guide action, it does so even more successfully than the theories which were originally held up as paradigms of action-guidingness. Theories that fit the principle-application model of practical guidance thus turn out to be less well-equipped to guide action than a theory of the virtues like Aquinas's, whose more various and comprehensive methods of guiding action give us rich new resources for practical guidance and moral pedagogy. (shrink)

In the De malo, Thomas Aquinas claims that the first movements (primi motus) of the sensitive appetite are sinful. This seems surprising, since these movements do not appear to be under the control of reason. Unfortunately, the brevity of Aquinas’s discussion makes it difficult to understand why he would make such a claim. However, if he is read in light of the medieval debate about the first movements that was ongoing during his time, then Aquinas’s reasoning becomes much clearer. This (...) paper thus gives an overview of the medieval debate concerning the sinfulness of the first movements in order to situate Aquinas within his historical context. It argues that Aquinas largely adopts the position of William of Auxerre, who distinguished between first first movements (motus primo primi) and second first movements (motus secundo primi). Auxerre argued that the first first movements were of animal sensuality and where therefore not sinful. The second first movements were of human sensuality and therefore, since they were in some way rational, were sinful. The paper then discusses how Aquinas makes use of this distinction and how this affects the interpretation of his position that the first movements are sinful. (shrink)

Many philosophers have been attracted to the view that reasons are premises of good reasoning – that reasons to φ are premises of good reasoning towards φ-ing. However, while this reasoning view is indeed attractive, it faces a problem accommodating outweighed reasons. In this article, I argue that the standard solution to this problem is unsuccessful and propose an alternative, which draws on the idea that good patterns of reasoning can be defeasible. I conclude by drawing out implications for the (...) debate over pragmatic reasons for belief and other attitudes and for one influential form of reductionism about the normative. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Metaphysics of Creation. Aquinas's Natural Theology in Summa contra gentiles IIE.J. AshworthNorman Kretzmann. The Metaphysics of Creation. Aquinas's Natural Theology in Summa contra gentiles II. Oxford: Clarendon Press, 1999. Pp. xiii + 483. Cloth, $65.00.Thomas Aquinas is astounding not just for the richness, complexity and timeless interest of his thought, but for the sheer bulk of his works. The challenge this bulk presents to commentators has been (...) taken up in various ways. Some people focus on Aquinas's architectonic, giving a global overview of individual works in such terms as the neo-Platonic exitus-reditus schema; others focus on the interplay of faith and reason in his works by classifying Aquinas as a theologian, or a Christian philosopher, or a philosopher-theologian; still others try to organize his thought by bringing together thematically-linked discussions from a variety of places. All three approaches tend to overlook perhaps the most striking feature of Aquinas's writings: the continuous progression of carefully-formulated, detailed arguments and sub-arguments.In the second book of his uncompleted trilogy on Summa contra gentiles, Norman Kretzmann combines the best of the first two approaches to Aquinas with an impressive and largely successful attempt to come to terms with Aquinas as an arguer. He takes an ample selection of Aquinas's own arguments in their order of appearance in SCG II; he analyzes their premisses; he shows how they function in relation to earlier and later arguments; and he criticizes their weaknesses. He does all this in an elegant, lucid prose that ensures the attentive reader an enhanced understanding of the specific topics discussed by Aquinas. [End Page 434]To understand the full import of the arguments examined, however, we need to consider what Aquinas hopes to achieve by his sequences of arguments. While granting that Aquinas is a theologian, and that he intends his Summa contra gentiles to give a full account of what Christians believe, Kretzmann argues that the first three books of SCG present a fully-developed natural theology which can serve as guide and inspiration to thinkers today. The key to understanding Aquinas here is the recognition that the philosopher, particularly the metaphysician, is, or should be, concerned with the first principles and most ultimate aspects of reality. If it turns out, as most philosophers before the twentieth century have believed, that these first principles are divine, then truths taught by revelation can be integrated with truths arrived at by reason. Moreover, once the existence and nature of God have been established, or at least rendered plausible, one can take God as a starting point for the explanation of this-worldly phenomena, from the nature of the physical world to the nature of the human person. This explanation, while buttressed by references to Biblical revelation, will nonetheless be fully natural, insofar as it relies on arguments whose premisses are those available to any rational being independently of revelation.In his earlier book, The Metaphysics of Theism (Oxford, 1997) Kretzmann examined the start of Aquinas's natural theology, the movement from things around us to God. In The Metaphysics of Creation, finished just before his death, Kretzmann takes up the emergence of things from God. The book is divided into three unequal parts. First, there is a long discussion of Aquinas's view of creation, and the precise way in which the world is dependent upon God, its first cause. Particularly notable in this section is the discussion of Aquinas's view that creation is compatible with the notion of a beginningless world. The second, very brief, section takes up Aquinas's treatment of the emergence of different species, and his willingness to reject the kind of literal reading of Genesis espoused by contemporary creationists. The third and longest section takes up the nature of the human mind or soul. What makes this section particularly interesting is its emphasis on the implications of the top-down approach. If we start with the ideas that God is a pure intellect, and that immaterial substance is possible, then the mind-body problem becomes that of explaining how intellect can ever be closely related to matter, rather that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Light That Binds: A Study in Thomas Aquinas's Metaphysics of Natural Law by Stephen L. BrockBrian BesongThe Light That Binds: A Study in Thomas Aquinas's Metaphysics of Natural Law by Stephen L. Brock (Eugene, OR: Pickwick, 2020), xv + 277 pp.Fr. Stephen L. Brock is arguably one of the most important contemporary contributors to the Thomistic understanding of natural law. Hence, the publication of his updated and (...) revised doctoral dissertation on the topic [End Page 289] of the metaphysics of natural law in St. Thomas will be gladly received by Thomistic scholars and moral theorists alike. In The Light That Binds, Brock's central task is to explain the metaphysics of the promulgation of natural law in man. Put differently although extant literature on natural law may be useful for action analysis—why lying is always wrong, say—less attention has been paid to the way in which natural law has been promulgated by God and is present in the human intellect. What literature is available, either as an explanation of St. Thomas or as criticism of the same, has failed to do Aquinas justice, so Brock argues.The book comprises seven chapters and an introduction. In the first chapter, Brock's central goal is to survey the ways in which (especially more recent) commentators of Aquinas have distorted the sense in which natural law constitutes genuine law, as well as the relationship between natural law and God. For, there is a line of thought on natural law, particularly prominent in the "new natural law" tradition, according to which the principles at the heart of the theory do not fully satisfy the four criteria of legitimate law given by Aquinas. Rival views have natural law constituting a real law, but in virtue of an epistemically explicit reliance on God as lawgiver, among other distortions. Figureheads surveyed in the chapter include Dom Odon Lottin, Ernest Fortin, and Francisco Suárez, among others.In the second chapter, Brock outlines and defends his positive view regarding the legal status of the natural law by way of continued discussion of Lottin, particularly Lottin's contention that St. Thomas was heavily influenced by a mid-thirteenth-century Franciscan tract, De legibus et praeceptis. Brock argues that St. Thomas conceives of natural law as having an even closer relationship to eternal law than is posited by the earlier Franciscan tract, and the rest of the chapter is largely focused on unpacking this close relationship. In sum, natural law is law because it involves a rational ordering by God of our intellect to the goods of our nature, a human participation in an eternal ordering of all things to their ends (i.e., the eternal law). We need not discover the source of the ordering—namely, God—in grasping the first principles of his ordering, as Brock explains here and elsewhere. But the strictly legal status of the principles requires that natural law comes from a legitimate authority, among other essential elements.Chapters 3 and 4 tackle the more human side of the metaphysics of natural law. More concretely, in these chapters, Brock explains the wheres and the whats of our possession of the natural law. For, not all ordering of objects to ends implies the sort of normativity we see in the natural law. Brute animals, among others, have natural inclinations too, and yet they are not governed through these instinctual drives by a natural law. Natural law [End Page 290] is present preeminently in the human intellect, Brock argues, and is not to be confused with the prerational drives that we share as part of our animal nature. God instills these rational drives—the light, as it were—into reason in such a way that an individual can grasp its force autonomously, as basic conceptional truths about what right and wrong consist in (72). Here it would have been nice for Brock to reflect briefly on how Aquinas's views on moral knowledge fit within his broader epistemological commitments, as the natural (conceptual) knowledge of right and wrong at first glance shares common ground with the Franciscan tradition on divine illumination as found in figures... (shrink)

This essay argues that, for Thomas Aquinas, nature always points in the direction of Christ. Therefore, moral theologies that proceed by way of nature in order to move beyond the confines of confessional traditions fail to read Aquinas well. Because Jesus is the Second Person of the Trinity, the exemplar in whom all things are made, nature cannot be a more universal category than Christology. Karl Barth critiqued Roman Catholic moral theology for failing to honour this essential theological point, (...) wrongly attributing the error to Aquinas. However, many contemporary Catholic moral theologians have adopted the very understanding of nature Barth critiques, and are using Thomas to do so. This loses the ecumenical character of Aquinas’s work. (shrink)

This essay argues that, for Thomas Aquinas, nature always points in the direction of Christ. Therefore, moral theologies that proceed by way of nature in order to move beyond the confines of confessional traditions fail to read Aquinas well. Because Jesus is the Second Person of the Trinity, the exemplar in whom all things are made, nature cannot be a more universal category than Christology. Karl Barth critiqued Roman Catholic moral theology for failing to honour this essential theological point, (...) wrongly attributing the error to Aquinas. However, many contemporary Catholic moral theologians have adopted the very understanding of nature Barth critiques, and are using Thomas to do so. This loses the ecumenical character of Aquinas’s work. (shrink)

“Chiaroscuro” is a art technique that makes use of light and shade to suggest depth and solidity on a flat surface. I argue that the standards regarding accountability in the second edition of the Core Competencies for Healthcare Ethics Consultation , are chiaroscuro, because, despite the offered lists of competencies, it is very difficult to imagine how consultants might be held accountable to such standards. It is not clear to which of the many suggested standards a consultant should be (...) held accountable, and even if one stipulates that only the tabulated competencies are meant as standards, the vague wording makes it hard to know how a consultant might fail to meet the standards or perform excellently. In addition, because terms such as “ethics” and “ethical” are not defined in the document, we are left with no way to determine whether consultants have made appropriate recommendations. The document is useful as a point of discussion, but not yet ready to serve as a tool for holding practitioners accountable. (shrink)

This paper will argue that the order and the unity of St. Thomas Aquinas’s five ways can be elucidated through a consideration of St. Thomas’s appropriation of an Avicennian insight that he used to order and unify the wisdom of the Aristotelian and Abrahamic philosophical traditions towards the existence of God. I will begin with a central aporia from Aristotle’s Metaphysics. Aristotle says that the science of first philosophy has three different theoretical vectors: ontology, aitiology, and theology. But how can (...) all three be united into a single Aristotelian science? In his Metaphysics of the Healing, Avicenna resolved the impasse by taking the ontological vector as the subject of metaphysics. He then integrated the question of the four first causes into the penultimate stage of his demonstration for the existence of God, thereby placing aitiological and theological questions among the ultimate concerns of a unified Aristotelian metaphysics. In the five ways, St. Thomas integrated Avicenna’s Aristotelian search for the first four causes into the last four of his five ways, by showing that each of the four aitiological orders terminate in an ultimate first cause that we call God. Finally, by appending the proof from the Physics to the beginning of the five ways, St. Thomas was able to show that the ultimate aim of both natural philosophy and metaphysics is the divine first principle, which is the beginning and subject of sacra doctrina. (shrink)

This paper argues that the AI ethics has generally neglected the issues related to the science communication of AI. In particular, the article focuses on visual communication about AI and, more specifically, on the use of certain stock images in science communication about AI — in particular, those characterized by an excessive use of blue color and recurrent subjects, such as androgyne faces, half-flesh and half-circuit brains, and variations on Michelangelo’s The Creation of Adam. In the first section, the author (...) refers to a “referentialist” ethics of science communication for an ethical assessment of these images. From this perspective, these images are unethical. While the ethics of science communication generally promotes virtues like modesty and humility, similar images are arrogant and overconfident. In the second section, the author uses French philosopher Jacques Rancière’s concepts of “distribution of the sensible,” “disagreement,” and “pensive image.” Rancière’s thought paves the way to a deeper critique of these images of AI. The problem with similar images is not their lack of reference to the “things themselves.” It rather lies in the way they stifle any possible forms of disagreement about AI. However, the author argues that stock images and other popular images of AI are not a problem per se, and they can also be a resource. This depends on the real possibility for these images to support forms of pensiveness. In the conclusion, the question is asked whether the kind of ethics or politics of AI images proposed in this article can be applied to AI ethics tout court. (shrink)

This article argues that the imaginary and the experienced body cannot fully be understood without an appreciation of the specific historical context in which they are formed. Offering a case study of military masculinity in Britain in the Second World War, the article examines the significance of the medical examination and subsequent physical classification of potential recruits to the Armed Forces in constructions of the male body. Individual responses, drawn from oral testimonies, are examined to explore the relationship between (...) the discursive and experienced body. These suggest the power of the social body in defining the meaning of the individual body. Nonetheless, despite the dominance of physical classification in the definition of hegemonic masculinity, individual experiences reveal that the concept and meaning of physical grading could be negotiated in ways which introduced less stable and more multiple meanings of the individual body and its relationship to the national body. (shrink)

It is very contentious whether the features of the manifest image have a place in the world as it is described by natural science. For the advocates of strict naturalism, this is a serious problem, which has been labelled ‘placement problem’. In this light, some of them try to show that those features are reducible to scientifically acceptable ones. Others, instead, argue that the features of the manifest image are mere illusions and, consequently, have to be eliminated from (...) our ontology. In brief, the two options that are open to strict naturalists for solving the placement problem are ontological reductionism and eliminativism. Other advocates of naturalist philosophy, however, claim that both these strategies fail and, consequently, opt for ‘mysterianism’, the view according to which we cannot give up the recalcitrant features of the manifest image even if we are not able to understand the ways in which they could be reduced to the scientific features. Mysterianism has the merit of facing the difficulties that whoever wants to explain reductively, or explain away, the features of the manifest image encounters. It is also a defeatist philosophical view, though, since it considers the most important philosophical problems as unsolvable mysteries. For this reason, I argue that mysterianism can also be taken as a reductio of strict naturalism, given its presumption that all phenomena are either explainable by the natural sciences or to be rejected as illusory. In this article, it is argued that the failures of reductionism, eliminativism and mysterianism should teach us that both the scientific image and the manifest image of the world are essential and mutually irreducible but not incompatible with each other. To support this claim, in the second part of the article, the case of free will is discussed. (shrink)

In his Tertia Via Thomas Aquinas argues that, since some things are generated and corrupted, they possibly exist and possibly do not exist. 'But,' he continues, 'it is impossible for these always to exist, for that which is possible not to exist at some time does not exist. Therefore, if all things possibly do not exist, then at some time no thing existed.' These inferences can be justified by construing the Third Way as a modal argument relying on two principles: (...) one denying any temporal realization for the impossible and another expressing the nature of a necessary causal condition in modal terms. (shrink)

Eleonore Stump has recently argued that the Aristotelian foundations of Aquinas’s virtue theory have not only been exaggerated but are mistaken. She does not dispute Aquinas’s familiarity with and dependence on Aristotle’s moral theory. Instead, she argues that Aquinas’s ethics must be seen as essentially second-personal, where the central relationship is between the moral agent and the Holy Spirit, specifically the gifts of the Holy Spirit and the theological virtues. Her argument for displacing Aristotle, however, advances on at least (...) two questionable fronts. On the one hand, she claims that the acquired, Aristotelian moral virtues are, for Aquinas, not real virtues at all. Only the infused moral virtues are real. On the other hand, she argues that the pro-Aristotelian character of many descriptions of Aquinas’s moral theory over-emphasizes the role of reason in Aquinas’s ethics. Against this prevailing view, Stump contends that Aquinas is, in a limited way, closer to Hume in privileging the passions over reason. I challenge Stump’s attempted displacement of Aristotle by questioning her on both of these fronts. (shrink)

It has become increasingly common to talk about the second person in the theory of mind debate. While theory theory and simulation theory are described as third person and first person accounts respectively, a second person account suggests itself as a viable, though wrongfully neglected third option. In this paper I argue that this way of framing the debate is misleading. Although defenders of second person accounts make use of the vocabulary of the theory of mind debate, (...) they understand some of the core expressions in a different way. I will illustrate this claim by focusing on Reddy’s and Gallagher’s accounts and argue that these authors use the notions of knowing and of understanding other minds differently than traditionally assumed. As a consequence, second person accounts thus conceived do not directly address the questions that gave rise to the theory of mind debate. They invite us, however, to critically reflect upon the way the debate has been set up. (shrink)

This article argues that the ‘Third Way’ philosophy that has been adopted by centre-left parties throughout Europe and the United States provides the conceptual framework to analyse contemporary postfeminism and its contentious micro-politics that emerges out of personal and daily gender-based struggles. The notion of a postfeminist micro-politics complicates the critical perception of postfeminism as a depoliticized and anti-feminist backlash and offers a dynamic model of political action that takes into account the multiple agency positions of individuals today. Postfeminism and (...) the politics it endorses differ from emergent political movements such as third wave feminism in that they are not founded on second wave feminist theory and activism. Instead, postfeminist politics adopts a Third Way perspective to reconcile a number of conflicting concerns, from feminist calls for female equality and theoretical debates on anti-essentialism to the consumerist demands of capitalist society. These controversial new junctures are examined by paying particular attention to postfeminism’s female sexual agent who becomes the ‘entrepreneur’ of her own image, buying into standardized femininities while also seeking to resignify their meanings. In particular, the article discusses the paradoxical possibilities of ‘active consumption’ and ‘fashion feminism’ whereby women endeavour to achieve empowerment by exerting their consumer agency and using their bodies as political tools within the parameters of a capitalist economy. (shrink)

The six articles that comprise Book 2, Distinction 1, Question 1 of Aquinas' Writings on the "Sentences" of Peter Lombard represent his earliest and most succinct account of creation. These texts contain the essential Thomistic doctrines on the subject, and are here translated into English for the first time, along with an introduction and analysis. In Article One Aquinas argues, against Manichean dualism, that there is one ultimate cause of all created being; in so doing he gives three proofs for (...) the existence of the Creator and the essential features of his answer to the problem of evil. Thomas establishes his definition of creation in Article Two, providing the needed distinctions between philosophical and theological senses of creation. Emanationism and the problem of whether there can be any intermediary causes in God's act of creation are the subject of Article Three. The next article demonstrates that although God is the cause of all created being, nevertheless creatures are true causes in nature. Article Five argues that it is from revelation alone that we know that the world had a temporal beginning, and that the philosophical arguments that purport to show either the necessity or impossibility of the temporal beginning are not persuasive. A detailed exposition of the meaning of the first sentence of the Bible, "In the beginning God created the heavens and the earth," follows in Article Six. (shrink)

In this chapter I problematize Beauvoir's analogical analyses in The Second Sex, arguing that her utilization of the race/gender analogy omits the experiences and oppressions of Black women. Furthermore, taking into account select secondary literature that emphasizes these issues, I argue that several of Beauvoir's white feminist defenders and critics share in common their non‐engagement with Black feminist literature on Beauvoir. Put another way, Black feminists who explicitly take up Beauvoir in their writings have remained largely unacknowledged in (...) the secondary literature on Beauvoir by white feminists. As a corrective to this erasure, I highlight the scholarly contributions of Black feminists including Loraine Hansberry, Chikwenye Ogunyemi, Deborah King, Oyeronke Oyewumi, and bell hooks. (shrink)

The claim has been made that when Aquinas speaks about the virtue of truth and its opposing vices in the Summa theologiae 2-2.109-113, he regards himself as speaking of the same virtue of truth as found in the Nicomachean Ethics 4.7. In this paper, I dispute this claim, showing how Aquinas’s account cannot be Aristotelian and, in particular, that the possibility of forfeiting the virtue of truth by one serious lie cannot be explained by habituation. I argue instead that Aquinas’s (...) account can be better understood by reference to the kind of embodied experience most commonly encountered in joint attention or second-person relatedness, an approach that may offer new ways to address broader moral questions regarding truth. (shrink)

What does it mean to say that logic is formal? The short answer is: it means (or can mean) several different things. In this paper, I argue that there are (at least) eight main variations of the notion of the formal that are relevant for current discussions in philosophy and logic, and that they are structured in two main clusters, namely the formal as pertaining to forms, and the formal as pertaining to rules. To the first cluster belong the formal (...) as schematic; the formal as indifference to particulars; the formal as topic-neutrality; the formal as abstraction from intentional content; the formal as de-semantification. To the second cluster belong the formal as computable; the formal as pertaining to regulative rules; the formal as pertaining to constitutive rules. I analyze each of these eight variations, providing their historical background and raising related philosophical questions. The significance of this work of ?conceptual archeology? is that it may enhance clarity in debates where the notion of the formal plays a prominent role (such as debates where it is expected to play a demarcating role), but where it is oftentimes used equivocally and/or imprecisely. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aquinas and the Infused Moral Virtues by Angela McKay KnobelThomas M. Osborne Jr.KNOBEL, Angela McKay. Aquinas and the Infused Moral Virtues. Notre Dame, Ind.: University of Notre Dame Press, 2021. 214 pp. Cloth, $65.00This book is the first substantial English monograph on Aquinas's account of the infused virtues in many years, and the most significant treatment of the issue since Gabriel Bullet, Vertus morales infuses et vertus morales (...) acquises selon Saint Thomas d'Aquin (Fribourg: Éditions Universitaires, 1958). The infused virtues are about, or they are intrinsically ordered to, the supernatural end of human beings. Aquinas was among the first to argue that the infused virtues include not only the three theological virtues of faith, hope, and charity, but also supernatural counterparts to the acquired virtues, which are proportionate to the natural end of humans. These infused moral virtues are infused with charity and lost with mortal sin. Aquinas never addressed at length the relationship between acquired [End Page 144] and infused moral virtues, and many theologians rejected Aquinas's position that there are infused moral virtues.Knobel's book has two parts. The first part of the book consists of three chapters about Aquinas's own views. Chapter 1 is on natural virtue, which can be acquired through the agent's own efforts. Knobel emphasizes the way in which this virtue is proportionate to the natural end and abilities of humans. She correctly notes that Aquinas thinks that humans can perform such virtuous acts without grace. However, since she does not distinguish between morally good acts and morally good agents, she does not adequately address Aquinas's view of how sinners without grace might possess acquired virtue. Additionally, although she correctly notes the way in which moral virtue orders the agent to the end, it is often unclear whether she is discussing the proximate end of the will (which is an object), a further end (as when someone steals to commit adultery), or the ultimate end (which is God as the object of charity or the self as an object of disordered love). For example, she writes, "[I]f an act is not sinful, it cannot be ordered to an evil end." She might be making the uncontroversial claim that good acts are made evil when directed to a bad end, but in her argument she seems to be making the stronger claim that someone with a disordered ultimate end cannot habitually order good acts to such an end.Chapter 2 is on the infused virtues. Knobel notes that for Aquinas synderesis, which is a habit of grasping first practical principles, is a seed of the natural virtues, and that faith, which grasps revealed principles, plays this role in infused virtue. She shows how infused moral virtues, which share the same matter as the acquired moral virtues, have different ends and rules than the acquired virtues. Chapter 3 concerns Aquinas's account of the relationship between the acquired and infused virtues, and in particular the infused moral virtues. Knobel draws attention to texts in which Aquinas argues that the two coexist in someone who has grace, but she states that this coexistence is contradicted in the discussion of Macrobius's fourfold division of virtue in the Summa Theologiae (I-II, q. 61, a. 5). In this article, she thinks, acquired virtue is political virtue, and a stage toward infused virtue. She does not address how Aquinas uses the term "political virtue" differently in different texts, and how the schema of four virtues in this text might be read as describing both four stages of acquired virtue and four stages of infused virtue. Knobel supports her view—that those with grace lack acquired virtue—by claiming that Aquinas consistently states that there is no acquired virtue in heaven. This view only tenuously (at best) supports her point that acquired virtue does not exist in this life among those in a state of grace. Moreover, Aquinas seems to suggest that acquired virtue persists in the next life in ST I-II, q. 67, a. 1-2.The second part of the book is a criticism of contemporary interpretations of Aquinas, and an exposition of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Proof and Persuasion in the Philosophical Debate about AbortionChris KaposyPhilosophers involved in debating the abortion issue often assume that the arguments they provide can offer decisive resolution.1 Arguments on the prolife side of the debate, for example, usually imply that it is rationally mandatory to view the fetus as having a right to life, or full moral standing.2 Such an account assumes that philosophical argument can compel the reader (...) to see the fetus in a certain way and that dissent risks irrationality.I wish to question this image of the use of philosophical argument in the abortion debate. I focus on the question of fetal moral standing, which is one of the subproblems in the debate. I am especially concerned with prolife arguments for fetal moral standing, since the prolife side must argue for a position that is compulsory. The prochoice side, in contrast, typically holds that people are entitled to believe what they want about the fetus’s moral standing.My position is that philosophical arguments should be understood as tools for persuasion in the abortion debate rather than as a method for discovering decisive proofs about the morality of abortion. I argue that because any one position on the moral standing of fetuses cannot be established decisively, law and policy should favour the prochoice position. In support of these conclusions, I present two common argumentative strategies used to suggest that the prolife view of the fetus is rationally [End Page 139] mandatory, and I illustrate why arguments involving these strategies do not compel us to view the fetus as having full moral standing.Framing the IssueIn order to show that abortion is wrong (in cases in which it is considered wrong), one must first establish that fetuses have full moral standing.3 It is a serious moral wrong to take the life of someone with full moral standing—this is part of what it means to have this status. The possessor of full moral standing is entitled to have his or her life protected. If abortion is wrong, then the fetus must have full moral standing, because without such standing, killing a fetus could be justified by the pregnant woman’s strong interest in ending an unwanted pregnancy. Those arguing against the moral permissibility of abortion must show that it is mandatory (in some way) to view the fetus as having full moral standing. There are a range of positions one could take with regard to the fetus’s status, from viewing the fetus as an incipient organism with no moral standing to seeing the fetus as gaining moral standing as the pregnancy progresses. But if it is mandatory to view the fetus as having full moral standing, all other positions must then be mistaken, incorrect, or somehow unjustified.This paper analyzes why philosophers opposed to abortion think it is mandatory to attribute full moral standing to fetuses. There are two popular argumentative strategies offering different accounts of the source of this obligation. The first strategy suggests that fetal full moral standing derives from morally relevant facts about the fetus. According to this line of argument, we are rationally obligated to view the fetus as having full moral standing because we cannot deny (without courting irrationality) that there are properties, characteristics, or attributes of the fetus that entitle it to this status.The second strategy is to claim that the fetus has full moral standing because this position is most consistent with our intuitions in cases unrelated to abortion. Philosophers taking this approach are fond of analogies comparing fetuses to comatose adults or to people at the end of life, for example. This strategy of appealing to your interlocutor’s sense of consistency I call the “shared-value” strategy.The two strategies map very well onto the distinction some have made between argumentum ad rem and argumentum ad hominem. The philosopher of rhetoric Henry Johnstone Jr. draws this distinction in very clear terms, and others in the history of philosophy make note of the difference [End Page 140] between these two types of arguments as well.4 The appeal to the facts (or argumentum ad rem) seeks to establish the truth of its... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Makes the Common Good Common?Key Points from Charles De Koninck1Aquinas Guilbeau, O.P.In even the most capable philosophical hands, the common good remains a slippery concept. Its essence eludes the grasp of those who reach for it. This is due in part to the concept's complexity. "Common good" is composed of two rich, philosophically pregnant notions: goodness and commonness. Reflection on these two notions is ancient, of course. How (...) a thing is good has preoccupied philosophers since the dawn of time. How a thing may be common has exercised philosophers less throughout history, but even the ancients recognized that the question of a thing's commonness remains as intricate as the question of a thing's goodness. Despite their long philosophical history, however, the notions of goodness and commonness evade quick and easy description. Because they represent elemental characteristics of being itself, they share in being's fundamental mystery. As a result, millennia of reflection have not exhausted these notions' meanings. Like being, goodness and commonness require careful study by each generation, so that its intellectuals and teachers might clarify these notions' remaining secrets. Thus does each generation contribute to the perennial philosophy.When we modern and post-modern thinkers try to describe the common good, and thereby grapple with its notions of goodness and commonness, we find one of these two notions more elusive than the other. Which of the two might surprise us. It is not the common good's goodness. [End Page 739] Despite the philosophical confusions of our age, we more or less still agree publicly as to what constitutes a good, and as a result what constitutes an evil. We deem health a good, for example, while we deem disease an evil. We embrace one as perfective; we repulse the other as destructive. To my knowledge, no one has yet extolled COVID-19 as a good. So, we moderns and post-moderns have not completely lost hold of reality. We still share a sense of goodness, even if our generation mislabels some evils as goods.When it comes to describing the common good, therefore, it is not the common good's goodness that eludes us. Rather, it is its commonness that we have difficulty grasping. What does it mean for a good to be common? How is a common good common? Are all common goods common in the same way? How is the example of health common? Is health a common good properly speaking, or does it only appear to be common? How do we know the difference? Is there a difference? Unfortunately, few of us can answer these questions well. The reasons may not all be our fault, but we should admit that, along with our secular contemporaries, we remain largely unversed in commonness. A sign of our inexperience with the concept is that we seldom ask questions about commonness. Instead, we take it for granted that we know what commonness involves. When pressed to describe it, however, we quickly discover just how uncommon understanding of commonness is.In the first half of the last century, Charles De Koninck was well aware of modernity's inexperience with commonness. He recognized that individualism and its philosophical prerequisites had so captured the popular imagination, even among Catholics, that the common quality of the common good was disappearing from view. As a result, political discourse—to say nothing of political life—had entered serious difficulty. Between the World Wars, De Koninck spoke up among Catholic philosophers to remind them of the "primacy of the common good," not simply as a practical concept but as a speculative one, in accord with its classical conception.De Koninck recalled for his contemporaries not only that but also how commonness, like goodness, is primarily something objectively real and metaphysically constituted, and only secondarily something subjectively perceived and practically useful. To revive the objective and metaphysical notions of goodness and commonness among Catholic intellectuals—many of whom had traded these for easier subjective and practical notions2—De [End Page 740] Koninck composed his famous essay The Primacy of the Common Good, Against the Personalists.3 In it, De Koninck spends eighty pages reviewing the objective... (shrink)

The history of Chinese medicine is still widely imagined in terms dictated by the discourse of modernity, that is as ‘traditional’ and ‘Chinese.’ And yet, so as to be intelligible to us moderns, it must simultaneously be framed through categories that make it comparable somehow to the ‘West’ and the ‘modern’ from which it is said to be essentially different. This is accomplished, for instance, by viewing Chinese medicine as fundamentally shaped by cosmological thinking, as focusing on process rather than (...) matter, and as forever hampered by attachments to the past even when it tries to innovate. At the same time, it is described as pursuing its objectives in ways that make sense in ‘our’ terms, too, such as the goal of creating physiological homeostasis through methods of supplementation and drainage. In this paper, I seek to move beyond this kind of analysis through a two-pronged approach. First, by focusing on the concept of tong 通 - a character that calls forth images of free flow, connectivity, relatedness and understanding - I foreground an important aspect of Chinese medical thinking and practice that has virtually been ignored by Western historians of medicine and science. Second, by exploring how the influential physician Ye Tianshi 葉天士 employed tong to advance medical thinking and practice at a crucial moment of change in the history of Chinese medicine, I demonstrate that physicians in early modern China moved towards new understandings of the body readily intelligible by modern biomedical anatomy. I argue that this mode of analysis allows us to transcend the limitations inherent in the current historiography of Chinese medicine: because it allows for comparison to emerge from our subject matter rather than imposing our imaginaries onto it in advance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Proof and Persuasion in the Philosophical Debate about AbortionChris KaposyPhilosophers involved in debating the abortion issue often assume that the arguments they provide can offer decisive resolution.1 Arguments on the prolife side of the debate, for example, usually imply that it is rationally mandatory to view the fetus as having a right to life, or full moral standing.2 Such an account assumes that philosophical argument can compel the reader (...) to see the fetus in a certain way and that dissent risks irrationality.I wish to question this image of the use of philosophical argument in the abortion debate. I focus on the question of fetal moral standing, which is one of the subproblems in the debate. I am especially concerned with prolife arguments for fetal moral standing, since the prolife side must argue for a position that is compulsory. The prochoice side, in contrast, typically holds that people are entitled to believe what they want about the fetus’s moral standing.My position is that philosophical arguments should be understood as tools for persuasion in the abortion debate rather than as a method for discovering decisive proofs about the morality of abortion. I argue that because any one position on the moral standing of fetuses cannot be established decisively, law and policy should favour the prochoice position. In support of these conclusions, I present two common argumentative strategies used to suggest that the prolife view of the fetus is rationally [End Page 139] mandatory, and I illustrate why arguments involving these strategies do not compel us to view the fetus as having full moral standing.Framing the IssueIn order to show that abortion is wrong (in cases in which it is considered wrong), one must first establish that fetuses have full moral standing.3 It is a serious moral wrong to take the life of someone with full moral standing—this is part of what it means to have this status. The possessor of full moral standing is entitled to have his or her life protected. If abortion is wrong, then the fetus must have full moral standing, because without such standing, killing a fetus could be justified by the pregnant woman’s strong interest in ending an unwanted pregnancy. Those arguing against the moral permissibility of abortion must show that it is mandatory (in some way) to view the fetus as having full moral standing. There are a range of positions one could take with regard to the fetus’s status, from viewing the fetus as an incipient organism with no moral standing to seeing the fetus as gaining moral standing as the pregnancy progresses. But if it is mandatory to view the fetus as having full moral standing, all other positions must then be mistaken, incorrect, or somehow unjustified.This paper analyzes why philosophers opposed to abortion think it is mandatory to attribute full moral standing to fetuses. There are two popular argumentative strategies offering different accounts of the source of this obligation. The first strategy suggests that fetal full moral standing derives from morally relevant facts about the fetus. According to this line of argument, we are rationally obligated to view the fetus as having full moral standing because we cannot deny (without courting irrationality) that there are properties, characteristics, or attributes of the fetus that entitle it to this status.The second strategy is to claim that the fetus has full moral standing because this position is most consistent with our intuitions in cases unrelated to abortion. Philosophers taking this approach are fond of analogies comparing fetuses to comatose adults or to people at the end of life, for example. This strategy of appealing to your interlocutor’s sense of consistency I call the “shared-value” strategy.The two strategies map very well onto the distinction some have made between argumentum ad rem and argumentum ad hominem. The philosopher of rhetoric Henry Johnstone Jr. draws this distinction in very clear terms, and others in the history of philosophy make note of the difference [End Page 140] between these two types of arguments as well.4 The appeal to the facts (or argumentum ad rem) seeks to establish the truth of its... (shrink)

Whether adolescents should be allowed to make their own medical decisions has been a topic of discussion in bioethics for at least two decades now. Are adolescents sufficiently capacitated to make their own medical decisions? Is the mature-minor doctrine, an uncommon legal exception to the rule of parental decision-making authority, something we should expand or eliminate? Bioethicists have dealt with the curious liminality of adolescents—their being neither children nor adults—in a variety of ways. However, recently there has been a trend (...) to rely heavily, and often exclusively, on emerging neuroscientific and psychological data to answer these questions. Using data from magnetic resonance imaging and functional MRI studies on the adolescent brain, authors have argued both that the adolescent brain isn't sufficiently mature to broadly confer capacity on this population and that the adolescent brain is sufficiently mature to assume adolescent capacity. Scholars then accept these data as sufficient for concluding that adolescents should or should not have decision-making authority. Two critical mistakes are being made here. The first is the expectation that neuroscience or psychology is or will be able to answer all our questions about capacity. The second, and more concerning, mistake is the conflation of decision-making capacity with decision-making authority. (shrink)

Animal research remains a deeply controversial topic in biomedical science. While a vast amount has been written about the ethical status of laboratory animals, far less academic attention has been devoted to the public and, more specifically, to public opinion. Rather than what the public think, this article considers the role of ‘public opinion’. It draws on a recent empirical study which involved interviews with laboratory scientists who use animals in their research, and with other UK stakeholders. The first section (...) of the paper demonstrates that public opinion has become a kind of resource in the animal research debate. Public opinion polls, in particular, are frequently cited. The second section explores this further and argues that, for all sides, appealing to public opinion is a key way to show legitimacy. Finally, the paper shifts gear to consider whether public opinion should matter, both for ethical reasoning and for science policy. (shrink)

The third volume of newly translated selections from the writings of Saint Thomas Aquinas, Fr. Richard Regan turns to his thoughts on the moral dimensions of human action. Focusing on the first part of the second folume of the Summa Theologiae, he deals with such topics as the ultimate human goal, human acts, emotions and virtues. Regan indicates that though Aquinas approaches these topics from the perspective of human reason, it is necessary for the reader to remember that his (...) overall viewpoint is that of a believer seeking to understand his faith. All can weigh the merits of these propositions due to their clarity of language, exposition, and structure. (shrink)

We argue that the main objections against two central tenets of a Jamesian account of the emotions, i.e. that (1) different types of emotions are associated with specific types of bodily feelings (Specificity), and that (2) emotions are constituted by patterns of bodily feeling (Constitution), do not succeed. In the first part, we argue that several reasons adduced against Specifity, including one inspired by Schachter and Singer’s work, are unconvincing. In the second part, we argue that Constitution, too, can (...) withstand most of the objections raised against it, including the objection that bodily feelings cannot account for the outward-looking and evaluative nature of emotions. In both sections, we argue that the kinds of felt bodily changes posited by a Jamesian account of emotions are best understood in terms of felt states of action-readiness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aquinas's Ethics beyond Thomistic Virtue Ethics:The Gifts of the Holy Spirit, Spiritual Instinct, and Complete Human PerfectionJohn BerkmanThis paper offers a new reading and interpretation of Aquinas's doctrine of the gifts of the Holy Spirit. In the contemporary Thomist literature on ethics, there is far more discussion—and a far more developed discussion—of the nature and role of a virtue-habitus than a gift-habitus. Why might there be so little discussion (...) of the gifts and their distinctive habitus? Is it because Aquinas devotes many more questions to the virtues than to the gifts? Is it because the majority of self-professed Thomist ethicists have not been taught the gifts, and are either unaware or have merely a notional awareness that the gifts have a principle of action distinct from and superior to that of the virtues?1 Regardless of the reason, this paper seeks to mitigate the current paucity of analysis of the gifts and the gift-habitus.This paper will discuss Aquinas's doctrine of the gifts of the Holy Spirit from a resolutely gift-centered perspective. I do so because discussions of the gifts often presume a virtue-centered perspective. That is, treatments of the gifts typically interpret what Aquinas says about the gifts through the lens of a pre-existing virtue framework, the gifts then being made to fit into that pre-existing framework. I will argue that we see this not only in interpretations of Aquinas on the gifts, but also in English translations of the Summa theologiae [ST] on the question of the gifts. [End Page 47]As a result, in contemporary scholarship on Aquinas's ethics, the virtues typically receive extended treatment, whereas the gifts of the Holy Spirit receive no treatment at all. And when the gifts are addressed, their treatment is brief, with the main point being that the gifts provide assistance to the virtues, like a spiritual butler. In the best-case scenario, the gifts are like Jeeves to the virtues' Bertie—undoubtedly wiser, but rarely listened to.The paper is divided into four sections. The first section compares and contrasts a gift-habitus and a vinue-habitus. The second section focuses on Aquinas's notion of instinctus. The instinct of the Holy Spirit (divine instinct) is the principle of motion Aquinas associates with the gifts of the Holy Spirit (ST I-II, q. 68, aa. 1–2). I argue that—contrary to the judgment of most commentators—instinctus is a highly appropriate term to describe the character of the work of the Holy Spirit. In this section I also show how Aquinas's doctrine of instinctus has been made "invisible" in part by various translations of the ST, including the translation of Fr. Shapcote.2In the third section, I analyze Aquinas' argument that the gifts are more perfective of human beings than the virtues (ST I-II, q. 68, a. 8). This analysis also constitutes a "case study" of the ways in which Shapcote's translation (the dominant English translation for the last hundred years) contributes to misunderstandings of Aquinas's views on the relationship between the gifts and the virtues. In comparing and contrasting the virtues and gifts, an original part of my argument is my claim that, while charity sometimes operates from a virtue-habitus, at other times it operates according to a gift-habitus. Commentators have failed to adequately account for the fact that truly perfect (simpliciter) charity cannot be attained solely by the operations of virtue. The ultimate expression of charity requires a habitus superior to a virtue-habitus.3 While the wayfarer's expression of charity is always in one [End Page 48] sense a gift from God, in that it relies on God's grace, as the wayfarer grows in charity, charity increasingly functions as a gift of the Holy Spirit, or perhaps the form of all the gifts.4The fourth and final section focuses on how the gifts and infused virtues operate in the wayfarer who is growing in spiritual maturity. I argue that, although infused virtue-habitus and gift-habitus are given at baptism, facility in either typically grows slowly. Increasing facility in... (shrink)

For Thomas Aquinas, the Book of Job is the authoritative teaching concerning divine providence. In his Literal Exposition on Job, Aquinas offers a line-by-line commentary on the scriptural text. He analyzes the text not only by way of cross-references within the Book of Job and to other parts of Scripture, but also by appeal to the writings of Aristotle, the Church Fathers, and other Christian Aristotelians. Anthony Damico's translation is more literal than literary, preferring to render the Latin words wherever (...) possible by their obvious English derivatives. Martin Yaffe provides an extensive interpretive essay, bibliography, and indexes of citations. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Which modernism or modernisms circulate in Deleuze’s two-volume work on cinema? Can one meaningfully claim that both or either The Movement-Image and The Time-Image maintain connections with literary modernism? What relationship if any may be forged between theoretical debates in the areas of literary and film studies as these have been influenced by engagement with Deleuze’s work on cinema? The first obstacle to any successful negotiation of these questions lies in the absence in the books of any reference (...) to the category of modernism – a fact which is after all hardly surprising in a French author of Deleuze’s generation. A second consideration is summed up well by Joost Raessens when he argues that “For Deleuze the term ‘modernity’ is not a neutral category. In effect modern cinema is a representation of differential thought which is determined [...] as a fundamental critique of the classic thought of Plato and Hegel.” Scholars often assert that Deleuze’s modernity owes much to Nietzsche, in the shape of the latter’s demand for a new approach to questions of truth and knowledge. Once life is no longer judged in the name of a higher authority such as the good or the true, the stage is set for Nietzschean transvaluation. This is a process which subjects “every being, every action and passion, even every value, in relation to the life which they involve” to evaluation. This normative model of a cinema which has the capacity to carry out a Nietzschean total critique by means other than philosophy presides over The Time-Image in particular. In terms of the trajectory of Deleuze’s thought, total critique is opposed, in Nietzsche and Philosophy and Difference and Repetition, to Kantian critique as well as to Hegelian sublation. The thinking images of modern cinema, more specifically of its preeminent auteurs in Deleuze’s pantheon such as Welles, Resnais, Godard, and others, can effectuate this new image of thought. Thus is rendered tangible Deleuze’s claim that films think, that cinema thinks. Thus are linked a modernism of cinema and a project which dates back to Difference and Repetition, namely the challenge to a certain image of thought. In this challenge the allies include the two philosophers who dominate the film books – Bergson and Nietzsche. This chapter assumes the position that it is impossible to consider Deleuze’s modernism as being in any way other than intrinsically linked to his overall philosophical system and therefore that it is only in this context that connections with literary modernism can be explored. (shrink)

The topics of Questions i-iv of St. Thomas Aquinas' Commentary on the De Trinitate of Boethius are of vital interest to the Christian philosopher and theologian. Written while Aquinas was a youthful Master of Theology, the Questions show his solidarity with Christian tradition, his wide acquaintance with Scripture and the Fathers of the Church, and his creative use of philosophy in addressing theological issues. Question i treats of the possibility of our knowing God, and the human limitations of this knowledge. (...) Question ii concerns theology as a science which reaches out to God by faith in his revealed word and uses philosophical reasoning to throw light on the contents of revelation. In Question iii Aquinas takes up the nature of faith, showing its relation to religion and its necessity for the welfare of the human race. He argues for the catholicity or universality of the Christian faith and defends the orthodox teaching of the trinity of Persons in the one God. Question iv turns to a set of philosophical problems occasioned by Boethius' treatise on the Trinity: the factors that cause a plurality in genera, species and individuals. In this connection Aquinas makes one of his most controversial statements of the principle of individuation. (shrink)

"This is the only free-standing English translation of the entire Treatise on human nature, which includes St. Thomas's account of the metaphysical status of the human soul and its relation to the human organism ; the powers of the soul, especially the higher intellective powers that distinguish humans from other animals ; and, those questions on human origins, the creation of the first man and first woman, and their status as being created in the image of God."--Cover, p. 1.

According to ‘standard histories’ of nanotechnology, the colorful pictures of atoms produced by scanning probe microscopists since the 1980s essentially inspired visions of molecular nanotechnology. In this paper, I provide an entirely different account that, nonetheless, refers to aesthetic inspiration, First, I argue that the basic idea of molecular nanotechnology, i.e., producing molecular devices, has been the goal of supramolecular chemistry that emerged earlier, without being called nanotechnology. Secondly, I argue that in supramolecular chemistry the production of molecular devices was (...) inspired by an aesthetic phenomenon of gestalt switch, by certain images that referred to both molecules and ordinary objects, and thus symbolically bridged the two worlds. This opened up a new way of perceiving and drawing molecular images and new approaches to chemical synthesis. Employing Umberto Eco’s semiotic theory of aesthetics, I analyze the gestalt switch and the inspiration to build molecular devices and to develop a new sign language for supramolecular chemistry. More generally, I argue that aesthetic phenomena can play an important role in directing scientific research and that aesthetic theories can help understand such dynamics, such that they need to be considered in philosophy of science. (shrink)

Which modernism or modernisms circulate in Deleuze’s two-volume work on cinema? Can one meaningfully claim that both or either The Movement-Image and The Time-Image maintain connections with literary modernism? What relationship if any may be forged between theoretical debates in the areas of literary and film studies as these have been influenced by engagement with Deleuze’s work on cinema? The first obstacle to any successful negotiation of these questions lies in the absence in the books of any reference (...) to the category of modernism – a fact which is after all hardly surprising in a French author of Deleuze’s generation. A second consideration is summed up well by Joost Raessens when he argues that “For Deleuze the term ‘modernity’ is not a neutral category. In effect modern cinema is a representation of differential thought which is determined [...] as a fundamental critique of the classic thought of Plato and Hegel.” Scholars often assert that Deleuze’s modernity owes much to Nietzsche, in the shape of the latter’s demand for a new approach to questions of truth and knowledge. Once life is no longer judged in the name of a higher authority such as the good or the true, the stage is set for Nietzschean transvaluation. This is a process which subjects “every being, every action and passion, even every value, in relation to the life which they involve” to evaluation. This normative model of a cinema which has the capacity to carry out a Nietzschean total critique by means other than philosophy presides over The Time-Image in particular. In terms of the trajectory of Deleuze’s thought, total critique is opposed, in Nietzsche and Philosophy and Difference and Repetition, to Kantian critique as well as to Hegelian sublation. The thinking images of modern cinema, more specifically of its preeminent auteurs in Deleuze’s pantheon such as Welles, Resnais, Godard, and others, can effectuate this new image of thought. Thus is rendered tangible Deleuze’s claim that films think, that cinema thinks. Thus are linked a modernism of cinema and a project which dates back to Difference and Repetition, namely the challenge to a certain image of thought. In this challenge the allies include the two philosophers who dominate the film books – Bergson and Nietzsche. This chapter assumes the position that it is impossible to consider Deleuze’s modernism as being in any way other than intrinsically linked to his overall philosophical system and therefore that it is only in this context that connections with literary modernism can be explored. (shrink)