Numbers. Natural numbers -- Integers -- Real numbers -- Irrational and transcendental numbers -- Funny numbers. Zero -- e : the unnatural natural number -- [Phi] : the golden ratio -- i : the imaginary number -- Writing numbers. Roman numerals -- Egyptian fractions -- Continued fractions -- Logic. Mr. Spock is not logical -- Proofs, truth, and trees : oh my! -- Programming with logic -- Temporal reasoning -- Sets. Cantor's diagonalization : infinity isn't just infinity -- Axiomatic set (...) theory : keep the good, dump the bad -- Models : using sets as the LEGOs of the math world -- Transfinite numbers : counting and ordering infinite sets -- Group theory : finding symmetries with sets -- Mechanical math. Finite state machines : simplicity goes far -- The turing machine -- Pathology and the heart of computing -- Calculus : no, not that calculus- [lambda] calculus -- Numbers, booleans, and recursion -- Types, types, types : modeling [lambda] calculus -- The halting problem. (shrink)

This book examines transaction cost economics, the influential theoretical perspective on organizations and industry that was the subject of Oliver Williamson's seminal book,Markets and Hierarchies. Written by leading economists, sociologists, and political scientists, the essays collected here reflect the fruitful intellectual exchange that is occurring across the major social science disciplines. They examine transaction cost economics' general conceptual orientation, its specific theoretical propositions, its applications to policy, and its use in systematic empirical research. The chapters include classic texts, broad review (...) essays, reflective commentaries, and several new contributions to a wide range of topics, including organizations, regulations and law, institutions, strategic management, game theory, entrepreneurship, innovation, finance, and technical information. The book begins with an overview of theory and research on transaction cost economics, highlighting the specific accomplishments of scholars working within the perspective and emphasizing the enormous influence that transaction cost reasoning exerts on the social sciences. The following section covers conceptual uses for the transaction cost framework and major theoretical or methodological elements within it, such as bounded rationality. While advancing some interesting theoretical propositions, these chapters are in fact more ambitious: each examines a specific field, area, or research program and attempts to fashion a new way of thinking about research questions. In the section on industrial applications, contributors study the application of transaction cost theory to a range of problems in utilities, telecommunications, laser printing, and early international trade. The book closes with four microanalytical chapters that delve into the structures and behaviors of specific aspects of firms and organizations: boards of directors, equity structures, employment models, human resource policies and practices, technology strategies, and innovation events. Firms, Markets, and Hierarchies collects excellent social science work on transaction cost economics, taking stock of its status, charting its future development, and fostering its renewal and evolution. (shrink)

Carpendale & Lewis's (C&L's) interesting and insightful article did not integrate several potentially useful notions from emotion theory and research into their explanatory framework. I propose that emotions are indigenous elements of mind and that children's understanding of them is fundamental to their understanding of the mental life of self and others, understandings critical to the development of social and emotional competence.

The idea that choreographic movements communicate to audiences by kinetic transfer is a commonplace among choreographers, dancers, and dance educators.1 Moreover, most dance lovers can cite their own favorite examples—the bounciness of the Royal Danish Ballet, the stomping of Bharata Natyam performers, the stag leaps in the thundering Greek chorus in Martha Graham’s Night Journey, or the contagious rhythmic transfer that takes over our feet when we watch classic tap dancers like Buster Brown. The perceptual capacity for kinetic transfer was (...) succinctly identified and theorized by John Martin. He called this capacity metakinesis. Martin was influenced by Theodor Lipps’s earlier theory of empathy. Lipps introduced his notion of empathy as a way to characterize our muscular responses to the perceived internal dynamics of inanimate objects under stress and tension, for example, weight-bearing columns and cantilevered boulders. Martin argued analogously about dance. -/- In what follows, we explore and evaluate three general challenges to the existence and significance of kinetic transfer in dance: challenges to the very possibility of kinesthetic understanding in dance, questions about the relevance of kinetic transfer to explanations of artistic communication in dance, and concerns about the relevance of kinetic transfer to evaluative questions germane to dance appreciation. We do not subscribe to every aspect of Martin’s story. Nevertheless, we think that Martin was exceedingly prescient. His speculations appear to be supported by recent research in neuroscience and psychology.We feel as a result that Martin’s comments are highly suggestive of what might be going on in ordinary dance consumers (or at least moderately informed ones). Critically, however, we do not model these contributions in terms of a discrete, stand-alone kinesthetic sense as Martin did. Rather, we argue that metakinesis and kinetic transfer refer to a general crossmodal sensorimotor perceptual capacity that contributes to our understanding and experience of actions in everyday contexts. Nor do we claim that audiences recognize and understand dance solely on the basis of kinetic transfer. Rather, we argue that this sensorimotor capacity is a contributing factor in our perceptual engagement with dance works, one of a range of tools ready to hand to choreographers and dancers for conveying information critical to the content of their works. (shrink)

This book offers a close-up look at theological education in the U.S. today. The authors' goal is to understand the way in which institutional culture affects the outcome of the educational process. To that end, they undertake ethnographic studies of two seminaries-one evangelical and one mainline Protestant. These studies, written in a lively journalistic style, make up the first part of the book and offer fascinating portraits of two very different intellectual, religious, and social worlds. The authors go on to (...) analyze these disparate environments, and suggest how in each case corporate culture acts as an agent of educational change. They find two major consequences stemming from the culture of each school. First, each culture gives expression to a normative goal that aims at shaping the way students understand themselves and from issues of ministry practice. Second, each provides a "cultural tool kit" of knowledge, practices, and skills that students use to construct strategies of action for the various problems and issues that will confront them as pastors or in other forms of ministry. In the concluding chapters, the authors explore the implications of their findings for theories of institutional culture and professional socialization and for interpreting the state of religion in America. They identify some of the practical dilemmas that theological and other professional schools currently face, and reflect on how their findings might contribute to their solution. This accessible, thought-provoking study will not only illuminate the structure and process by which culture educates and forms, but also provide invaluable insights into important dynamics of American religious life. (shrink)

This book provides an account of the nature of time, especially time's arrow and the role of entropy, at a semi-popular level. Special attention is given to statistical mechanics, the past hypothesis, and possible cosmological explanations thereof.

This article outlines the main tenets of affect theory and links these to Sloterdijk’s spherology. Where affect foregrounds prepersonal energies and posthuman impulses, spherology provides a lens for considering how humans congregate in constantly reconfiguring socialities in their pursuit of legitimacy and immunity. The article then explores the relevance of “affective spheres” for contemporary social science research. The article’s main argument here is that research of contemporary organisational and professional practices must increasingly be spherogenic, or seeking to build “affective (...) spheres.” The basis of this argument are the in situ complexity and fast-changing nature of practices, and the increasing challenges involved in objectifying or ‘freezing’, and analysing or dissecting such practices. The article draws for its case study on a video-reflexive project conducted in a U.S. health service. The article concludes that the notion of research as spherogenics counterbalances the conventional methodological emphasis on a predetermined stance —whether neutral or political—in our construction and enactment of social science research. (shrink)

Business and Society: Ethics and Stakeholder Management, 5th edition employs a stakeholder management framework, emphasizing business' social and ethical responsibilities to both external and internal stakeholder groups. A twin theme of business ethics to illustrate how ethical or moral considerations are included the public issues facing organizations and the decision making process of managers. The text is written from a managerial perspective that along with the twin themes of stakeholders and ethics, shows how to identify stakeholders, incorporate their concerns into (...) the organization's strategy and operations, and also integrate ethical wisdom into their decision making process. In addition, 35 case histories are included to help connect theory and practice through timely and interesting examples. (shrink)

Philosophy's traditional "man of reason"—independent, neutral, unemotional—is an illusion. That's because the "man of reason" ignores one very important thing—the woman. Representing Reason: Feminist Theory and Formal Logic collects new and old essays that shed light on the underexplored intersection of logic and feminism.

It has been argued that motion picture theory, or as we prefer to call it theory of the moving image, is too abstract, generalized , or theoretical to be of use for movie makers and critics interested in the production and analysis of particular films. We apply the framework and resources of Cognitivist Film Theory to explain some of the particular ways that Alfred Hitchcock's Rear Window works to engage audiences with an eye to allaying the skeptics (...) doubts. (shrink)

Effective Field Theory (EFT) is the successful paradigm underlying modern theoretical physics, including the "Core Theory" of the Standard Model of particle physics plus Einstein's general relativity. I will argue that EFT grants us a unique insight: each EFT model comes with a built-in specification of its domain of applicability. Hence, once a model is tested within some domain (of energies and interaction strengths), we can be confident that it will continue to be accurate within that domain. Currently, (...) the Core Theory has been tested in regimes that include all of the energy scales relevant to the physics of everyday life (biology, chemistry, technology, etc.). Therefore, we have reason to be confident that the laws of physics underlying the phenomena of everyday life are completely known. (shrink)

It is commonplace in discussions of modern cosmology to assert that the early universe began in a special state. Conventionally, cosmologists characterize this fine-tuning in terms of the horizon and flatness problems. I argue that the fine-tuning is real, but these problems aren't the best way to think about it: causal disconnection of separated regions isn't the real problem, and flatness isn't a problem at all. Fine-tuning is better understood in terms of a measure on the space of trajectories: given (...) reasonable conditions in the late universe, the fraction of cosmological histories that were smooth at early times is incredibly tiny. This discussion helps clarify what is required by a complete theory of cosmological initial conditions. (shrink)

A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding (...) a new approach. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

In the period between the mid-12th and mid-13th centuries, the notion of 'science' replaced that of 'art' as the category against which all areas of academic inquiry including theology were measured. This dissertation selectively traces one aspect of this change as it is understood by Thomas Aquinas: the understanding of the relationship of sacred and secular study given these two different models of learning, art and science. ;Hugh of St. Victor's Didascalicon is discussed as it represents the acceptance and assimilation (...) of the 'arts' into a program of Christian education in the 12th century. The author reinterprets two Augustinian themes--the epistemological theory of divine illumination and the notion that theology is 'faith seeking understanding'--and uses them to explain and parallel the methods and order of learning for secular and sacred study. ;Next some of the thinkers and texts which introduce and try to interpret the notion of science, its requirements, and its application to the various disciplines are covered. Chapter two is dedicated to two didascalic works which use the Aristotelian concept of science and Aristotle's classification of sciences to divide and define the secular sciences, and chapter three deals with the understanding of the nature of science and its relationship to theology in William of Auvergne, Robert Grosseteste, and the Summa Fratris Alexandri. These thinkers both introduce the notion of science with which St. Thomas works and form the background against which Aquinas articulates his interpretation of science and the sciences. ;In conclusion, I turn to Aquinas' view of the subjects and methods of theology and the theoretical sciences, which he explains using the language of Aristotelian science rather than that of the arts. St. Thomas reinterprets the requirements for science given in the Posterior Analytics in a way that makes them applicable to theology, and in the process changes their application to the secular sciences, resulting in an understanding of the learning process that is symmetrical to the one found in the Didascalicon. The sciences are formed and defined not in terms of their objects, but in terms of their rationes or formal perspective, and the method of the sciences and sacred theology Aquinas articulates is, as it is for Hugh of St. Victor, circular or dialectical. ;As with Hugh of St. Victor, the standard for secular study, in Aquinas' case 'science' not 'art', redefines sacred study or theology, and at the same time, secular study is shown to share certain properties of sacred study, namely the circular or dialectical structure implied by 'faith seeking understanding'. (shrink)

showing what makes causal facts both true and accessible enough for us to have the knowledge of them that we ordinarily take ourselves to have. Some current approaches to analyzing causation were once resisted. First, analyses that use the counterfactual conditional were viewed with suspicion because philosophers also sought (and still do seek) similar understanding of counterfactual facts. Since the same can be said for the other nomic concepts--causation, lawhood, explanation, chance, dispositions, and their conceptual kin--philosophy demonstrated a preference for (...) non-nomic definitions of causation, analytic completions of (S) with no nomic terms in the analysans. Recently, however, philosophers have been less demanding regarding what terms may be used. Attention has been given to analyzing causation in terms of chance, the counterfactual conditional, and lawhood. If we reserve the term ‘causal’ for the terms and concepts that have extremely obvious connections.. (shrink)

This article presents a three-stage model of how isomorphic mechanisms have shaped corporate social responsibility reporting practices over time. In the first stage, defensive reporting, companies fail to meet stakeholder expectations due to a deficiency in firm performance. In this stage, the decision to report is driven by coercive isomorphism as firms sense pressure to close the expectational gap. In the second stage, proactive reporting, knowledge of CSR reporting spreads and the practice of CSR reporting becomes normatively sanctioned. In this (...) stage, normative isomorphism leads other organizations to look to CSR reporting as a potential new opportunity for achieving the firm’s goals. In the third stage, imitative diffusion, the defensive reporters together with the proactive reporters create a critical mass of CSR reporters that reaches a threshold at which the benefits of CSR reporting begin to outweigh any costs due to mimetic isomorphism. The study finds support for the model in an examination of Fortune 500 firms from 1997 to 2006. (shrink)

INTRODUCTIONFor the last two and a half decades – perhaps spurred onwards by R. W. Hepburn's seminal, wonderfully sensitive and astute essay “Contemporary Aesthetics and the Neglect of Natural Beauty” – philosophical interest in the aesthetic appreciation of nature has been gaining momentum. One of the most coherent, powerfully argued, thorough, and philosophically compelling theories to emerge from this evolving arena of debate has been developed over a series of articles by Allen Carlson. The sophistication of Carlson's approach – especially (...) in terms of his careful style of argumentation – has raised the level of philosophical discussion concerning the aesthetic appreciation of nature immensely and it has taught us all what is at stake, logically and epistemologically, in advancing a theory of nature appreciation. Carlson has not only presented a bold theory of the aesthetic appreciation of nature; he has also refined a methodological framework and a set of constraints that every researcher in the field must address.Stated summarily, Carlson's view of the appreciation of nature is that it is a matter of scientific understanding; that is, the correct or appropriate form that the appreciation of nature – properly so called – should take is a species of natural history; appreciating nature is a matter of understanding nature under the suitable scientific categories. (shrink)

Jessica Flanigan argues that individuals have the right to self-medicate. Flanigan presents two arguments in defense of this right. The first she calls the epistemic argument and the second she calls the rights-based argument. I argue that the right to self-medicate hangs and falls on the rights-based argument. This is because for the epistemic argument to be sound agents must be assumed to be epistemically competent. But, Flanigan’s argument for a constitutionally mandated right to self-medicate models agents as epistemically incompetent. (...) For Flanigan, agents are different at the pharmacy than they are at the polls. I identify this behavioral asymmetry and advocate a symmetric and realistic behavioral postulate for both arguments. The result, however, is that the success of the epistemic argument becomes contingent which fails to justify a constitutionally mandated right. I proceed to raise skepticism about the rights-based argument as well. I conclude that there is reason to be skeptical that these arguments can justify a constitutionally mandated right to self-medicate. Ultimately, a bottom-up approach to pharmaceutical ethics is preferable. (shrink)

_The Routledge Companion to Philosophy of Literature_ is an in-depth examination of literature through a philosophical lens, written by distinguished figures across the major divisions of philosophy. Its 40 newly-commissioned essays are divided into six sections: historical foundations what is literature? aesthetics & appreciation meaning & interpretation metaphysics & epistemology ethics & political theory _The Companion_ opens with a comprehensive historical overview of the philosophy of literature, including chapters on the study’s ancient origins up to the 18 th -20 (...) th centuries. The second part defines literature and its different categories. The third part covers the aesthetics of literature. The fourth and fifth sections discuss the meaning and consequences of philosophical interpretation of literature, as well as epistemological and metaphysical issues such as literary cognitivism and imaginative resistance. The sixth section contextualizes the place of philosophy of literature in the "real world" with essays on topics such as morality, politics, race and gender. Fully indexed, with helpful further reading sections at the end of each chapter, this Companion is an ideal starting point for those coming to philosophy of literature for the first time as well as a valuable reference for readers more familiar with the subject. (shrink)

This book discusses the development of Edward Tolman's purposive behaviourism from the 1920s to the 1950s, highlighting the tension between his references to cognitive processes and the dominant behaviourist trends. It shows how Tolman incorporated concepts from European scholars, including Egon Brunswik and the Gestalt psychologists, to justify a more purposive form of behaviourism and how the theory evolved in response to the criticisms of his contemporaries. The manuscript also discusses Tolman's political activities, culminating in his role in the (...) California loyalty oath controversy in the 1950s. Tolman was involved in a number of progressive causes during his lifetime, activities that drew the attention of both state legislators in California and the Federal Bureau of Investigation. It treats Tolman's theoretical and political activities as emanating from the same source, a desire to understand the learning process in a scientific manner and to apply these concepts to improve the human condition. (shrink)

Wuthering Heights has proved exceptionally elusive to interpretation. By foregrounding the idea of human nature, Darwinian literary theory provides a framework within which we can assimilate previous insights about Wuthering Heights , delineate the norms Brontë shares with her projected audience, analyze her divided impulses, and explain the generic forms in which those impulses manifest themselves. Brontë herself presupposes a folk understanding of human nature in her audience. Evolutionary psychology converges with that folk understanding but provides explanations that are (...) broader and deeper. In addition to its explanatory power, a Darwinian approach has a naturalistic aesthetic dimension that is particularly important for interpreting Wuthering Heights. (shrink)

How far has the Darwinian revolution come? To what extent have evolutionary ideas penetrated into the social sciences and humanities? Are the “science wars” over? Or do whole blocs of disciplines face off over an unbridgeable epistemic gap? To answer questions like these, contributors to top journals in 22 disciplines were surveyed on their beliefs about human nature, culture, and science. More than 600 respondents completed the survey. Scoring patterns divided into two main sets of disciplines. Genetic influences were emphasized (...) in the evolutionary social sciences, evolutionary humanities, psychology, empirical study of the arts, philosophy, economics, and political science. Environmental influences were emphasized in most of the humanities disciplines and in anthropology, sociology, education, and women's or gender studies. Confidence in scientific explanation correlated positively with emphasizing genetic influences on behavior, and negatively with emphasizing environmental influences. Knowing the current actual landscape of belief should help scholars avoid sterile debates and ease the way toward fruitful collaborations with neighboring disciplines. (shrink)

The unanimity theory is an account of property-level causation requiring that causes raise the probability of their effects in specified test situations. Richard Otte (1981) and others have presented counterexamples in which one property is probabilistically sufficient for at least one other property. Given the continuing discussion (e.g., Cartwright 1989; Cartwright and Dupre 1988; Eells 1988a,b), many apparently think that these problems are minor. By considering the impact of Otte's cases on recent versions of the theory, by raising (...) several new examples, and by criticizing natural replies, I argue that the problems for the unanimity theory are severe. (shrink)

Several recent books have claimed to integrate literary study with evolutionary biology. All of the books here considered, except Robert Storey’s, adopt conceptions of evolutionary theory that are in some way marginal to the Darwinian adaptationist program. All the works attempt to connect evolutionary study with various other disciplines or methodologies: for example, with cultural anthropology, cognitive psychology, the psychology of emotion, neurobiology, chaos theory, or structuralist linguistics. No empirical paradigm has yet been established for this field, but (...) important steps have been taken, especially by Storey, in formulating basic principles, identifying appropriate disciplinary connections, and marking out lines of inquiry. Reciprocal efforts are needed from biologists and social scientists. (shrink)

Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, (...) fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Recent years have seen an increasing amount of studies of the history of the term “religion” and how it figures in conceptions of “the secular” and of cultural differences generally. A recurrent theme in these studies is that “religion” carries associations with Protestant Christianity and thus is not as universal a category as it might appear. The aim of this paper is to explore some resources in Wittgenstein’s philosophy to obtain greater clarity about the contexts of ascription of religion-status to (...) various phenomena and thus to gain perspective on claims made by scholars who investigate the genealogy of the term. While there is good reason to be circumspect about uncritical use of the term “religion” (no less in philosophizing about religions or conducting interreligious dialogue), I argue that instead of abandoning the term or proffering a critical theory of religion, investigation of ascriptions of religion will help philosophers to perceive more clearly the social dynamics that have led to some- one or thing being called religious and thus avoid equivocations that could obstruct the ends of philosophical inquiry or dialogue. (shrink)

Max Weber’s sociological theories of secularization have vastly influenced the study of Protestant belief. _Protestant Modernity_ offers a multifaceted understanding of secularization within the broader context of nineteenth-century liberal Protestantism. Anthony J. Carroll reconstructs Weber’s original writings to highlight Protestant motifs, reviews current secularization theories, and settles debates about contested meanings of secularization in this volume that will be essential reading for students and scholars of theology and the sociology of religion.

This article focuses on the arguments that Arthur Danto has advanced for alleging that the developmental history of art is over. The author is skeptical of Danto's conclusion and maintains that Danto has failed to demonstrate that art history is necessarily closed. The author also contends that Danto's end-of-art thesis is better construed as a specimen of art criticism than as an example of the speculative philosophy of art history.

In lieu of an abstract, here is a brief excerpt of the content:On the Historical Significance and Structure of Monroe Beardsley's AestheticsAn AppreciationNoël Carroll (bio)IntroductionMonroe C. Beardsley's Aesthetics: Problems in the Philosophy of Criticism, published in 1958 by Harcourt, Brace and World Inc.,1 was a watershed event in the history of analytic aesthetics—a climax of sorts with respect to what preceded it and, at the same time, the opening of a new, more intricately developed and defended research program in aesthetics (...) than what had been previously on offer. Beardsley's Aesthetics, and developments therefrom,2 consolidated and crystallized a tendency in aesthetics that had begun to emerge at least by the time of the publication of Francis Hutcheson's An Inquiry Concerning Beauty, Order, Harmony, Design,3 which tendency, following Beardsley, we can call the aesthetic theory of art. Assembled out of parts and suggestions from Hutcheson, Kant, Schopenhauer, and Bell, among others, the aesthetic theory of art—of which Beardsley's version is one of the most accomplished, if not the most accomplished—has shown remarkable resilience, continuing to command allegiance from many distinguished, contemporary proponents, including Nick Zangwill, Gary Iseminger, and, with certain important modifications, Alan Goldman and Malcolm Budd.Part of what I would like to do in this essay is not only to trace the evolution of the aesthetic theory of art from its origins through to Beardsley's Aesthetics (and his subsequent tinkering with this masterwork) but also to show how the structure of the aesthetic theory of art, as crafted by Beardsley, is simultaneously so elegant, comprehensive, and systematic that it is understandable that Beardsley preferred constantly to repair it after each attack rather than to abandon it for the kinds of alternatives being proffered by Goodman, Danto, Wollheim, Dickie, Wolterstorff, and then Walton. In other words, Beardsley's reluctance to give up was genuinely motivated. [End Page 2] For, if only the kinks could have been smoothed out of it, the aesthetic theory of art, of the sort initiated in Aesthetics and elaborated subsequently by Beardsley, was itself a thing of beauty: exceedingly economical in its foundational principles and powerful in its reach. Thus, whereas typically I address the shortcomings of the aesthetic theory of art, in this essay I would like to talk about its strengths, strengths that I believe encouraged Monroe Beardsley to stick with it through thick and thin—that is, through a thick swarm of often thin counterexamples.In the next part of this essay, I will try to place Aesthetics historically in the course of Western aesthetics. Then in the final section, I shall attempt to explain how the structure of the sort of aesthetic theory of art incipient in Beardsley's Aesthetics and pursued by him in later works is so almost irresistibly attractive that virtually no number of anomalies can shake its friends out of the faith that such problems can be ultimately controlled, if not entirely overcome.On the Historical Significance of Beardsley's AestheticsBeardsley's Aesthetics is the culmination of certain tendencies that had been coalescing in various ways in Western aesthetics since the eighteenth century. One of Beardsley's most significant and influential twentieth-century predecessors was Clive Bell, who in his book Art, as is well known, defined art as that which possessed significant form. Significant form, in turn, was characterized as that which caused an aesthetic emotion. Bell's notion of an aesthetic emotion, I conjecture, derived from Schopenhauer's claim that what an artwork does is to lift us out of our everyday concerns—out of the world of striving. The aesthetic emotion, according to Bell, is a matter of being carried "out of life into ecstasy."4 The aesthetic experience, according to the Schopenhauer-Bell line of thought, involves the release of the individual from the pressures of life—from the pursuit of an endless process of desiring in Schopenhauer's lingo.This notion of aesthetic experience as detachment owes something to Kant's hypothesis that an authentic aesthetic judgment is disinterested, which, of course, itself is descended historically from Hutcheson's contention that beauty amounts to an experience of disinterested pleasure. However, whereas for Hutcheson and Kant disinterestedness is a... (shrink)

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding (...) the viewingof pornography Replete with examples and discussion of moving picturesthroughout. (shrink)

Although social contracts theory has been applied to organizations (Donaldson & Dunfee, 1994), rarely has the theory been tested empirically. This article uses the traditions of communitarianism and individualism to instantiate an ideal-type economic social contract. We asked 269 subjects to complete the Ideological Orientation Scale and to make judgments on eight downsizing scenarios. Using social judgment theory, we assess the direct and indirect influences of ideology on judgments of fairness. Our findings suggest that ideology indeed shapes (...) individual’s conceptions of organizational fairness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BELSEY ON LANGUAGE AND REALISM by Noel Carroll Like much contemporary literary theory, Catherine Belsey's influential Critical Practice1 is antirealist, where "antirealism" refers both to the rejection of a putative literary style and to the espousal of an epistemological stance, the latter ostensibly grounded in a theory of language, adapted from Ferdinand Saussure. Moreover, these two antirealisms are connected in that stylistic antirealism is, in part, advanced (...) as a consequence of epistemological —or perhaps more aptly "linguistic"— antirealism. Belsey's theory is avowedly political, designed to challenge the operation of ideology in literature, particularly realist literature. That is, though Belsey discusses literature of several different periods and of different genres, her primary preoccupation is with something she calls expressive realism, a tendency perhaps best exemplified by the nineteenth-century novel and still pursued by our less experimental writers. Purportedly, expressive realism is underwritten by at least two tenets: (1) realism insofar as it presumes that literature can accurately represent reality, and (2) a variant of expressionism insofar as it presumes we have access to the thoughts and intentions of authors {CP, p. 7). In this note, I shall concentrate exclusively on the linguistic arguments— which Belsey calls "Post Saussurean" — that are mobilized to discredit the first presumption of literary realism, its claim to represent reality. For Belsey, a major problem with expressive realism is that this sort of literature presents itself or is taken as an accurate reflection of reality. Belsey sometimes makes this point by saying that such literature purports to be an accurate representation of reality. At other moments, that which such literature claims to reflect accurately is said to be experiences of reality. But these alternative claims are also segued by 124 Noel Carroll125 saying that what is reflected are experiences of reality which are recognized to be true. Given the text, the variant of the reflection theory that appears to occupy Belsey most is the notion that literature reflects reality — that is, holds a mirror up to nature, as Hamlet might have it. This raises Belsey's political hackles because she believes that a commitment to the plausibility of the goal of reflecting life accurately invests realist literature with the aura of a socially unmediated, transhistorical, "natural" account of human life rather than an ideologically constructed one. In order to forestall this supposedly political repercussion, Belsey, taking advantage of her expanded version of Saussurean linguistics, charges that realism misconstrues the relationship between literature and the world. Indeed, ana this is the crux of her postSaussurean argument, the error here can be traced to something deeper, viz., a misconstrual of the relation between language and the world, of which the pretensions of literary realism are merely but an instance. Stated baldly, Belsey aspires to debunk literature's claims to realism by denying language's claims to realism. This may seem rather like killing a fly by using a cannon. And, in any case, one would have thought that questions about the representational efficacy of language were logically independent of the issue of the ideological operation of literary realism. However, Belsey, like many contemporary literary theorists, mistakenly believes that one contests literary realism by propounding epistemological reservations about language. Belsey claims that her linguistic antirealism derives from Saussure's putative discovery that "far from providing a set of labels for entities which exist independently in the world, language precedes the existence of independent entities, making the world intelligible by differentiating between concepts" {CP, p. 38). That language always precedes the existence of that to which it refers is a truly astounding discovery. And we should wish to know how Saussure, according to Belsey's interpretation, came upon it. For Saussure, language is a system of signs. Signs are composed of two elements: a material element— a sound-image or graphic image— called a signifier, and a conceptual element, what in different jargons is referred to as a meaning, an intension, or a connotation, and which in Saussure's terminology is called a signified. At this point it pays to notice what is missing in this account, viz., what other theorists sometimes call the reference, extension, or denotation of a term, that is, the set of 126Philosophy and... (shrink)

This article focuses on the arguments that Arthur Danto has advanced for alleging that the developmental history of art is over. The author is skeptical of Danto's conclusion and maintains that Danto has failed to demonstrate that art history is necessarily closed. The author also contends that Danto's end-of-art thesis is better construed as a specimen of art criticism than as an example of the speculative philosophy of art history.

Feminism is the most visible movement in film criticism today, and the most dominant trend in that movement is psychoanalytically informed. Psychoanalytic feminism came to this position in film studies at the very latest by the early to mid-1980s. Before the consolidation and ascendancy of this particular variety of feminism, earlier approaches to the study of women and film included the search for a suppressed canon of women filmmakers--a feminist version of the auteur theory--and the study of the image (...) of women in films, primarily the image of women in films by men. Neither of these approaches mandated a reliance on psychoanalysis, though, of course, one could pursue these research programs while also embracing psychoanalysis. My particular interest in this essay is to defend the study of the image of women in film, regarding that project as logically independent from the resort to psychoanalysis. In speaking of this approach to feminist film criticism, I have in mind writing on cinema from the early [nineteen-] seventies like Molly Haskell's From Reverence to rape which paralleled research in literary studies such as Kate Millett's Sexual Politics. Work of this sort called to our attention the ways the imagery of women in our culture recurrently portrayed them through a limited, constraining, and ultimately oppressive repertory of characterizations. (shrink)

Arthur Danto's The Abuse of Beauty: Aesthetics and the Concept of Art is Danto's most recent, through-written monograph on the philosophy of art. An obvious question occasioned by its publication is: what is it intended to add to Danto's previous treatises on the philosophy of art, such as The Transfiguration of the Commonplace and After the End of Art? The simple answer, of course, is beauty. But, why, one asks, does Danto need to address beauty? . . .Danto, it seems (...) to me, needs to come to terms with beauty as a matter of theoretical damage control. beauty, narrowly conceived, has the potential to threaten the generality of Danto's theory of art. Therefore, Danto needs, so to speak, to contain it. (shrink)

In this article, I discuss the historical imperative for art to create new forms. This imperative has become especially pronounced in the Age of the Avant-Garde. For that reason, I focus on the way in which avant-garde creativity typically proceeds. To that end, I rely on Paul Grice’s theory of communication.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 295-313 [Access article in PDF] The Ecology of Victorian Fiction Joseph Carroll I In the past ten years or so, ecological literary criticism--that is, criticism concentrating on the relationship between literature and the natural environment--has become one of the fastest-growing areas in literary study. Ecocritics now have their own professional association, their own academic journal, and an impressive bibliography of scholarly studies. Ecocritical scholars (...) divide their attention between "nature writing" and ecological themes within all literature. In other words, some scholars write on Thoreau, John Muir, Aldo Leopold, and Annie Dillard; others write on topics such as the representation of nature in romantic poetry, the American West as a symbol, metaphors of landscape, or Dante's Inferno as a polluted ecosystem. Ecocritics have a distinct subject matter, and they share in a certain broad set of attitudes, values, and public policy concerns, but they do not yet have a firmly established framework of commonly accepted theoretical principles. In the absence of any overarching theory, ecocritics have usually sought to incorporate their ecological subject matter within other, already established theoretical schools: feminism, Bakhtin's dialogism, Lacanian psychoanalysis, or English romantic and American transcendentalist, idealist philosophy. Most commonly, ecocritics have affiliated themselves with the standard contemporary blend of Foucauldian ideological criticism--a blend that is vaguely Marxist and Freudian, generally radical, and strongly tinctured with deconstructive irrationalism and textualism. 1Given its specialized themes and topics and its ready affiliation with the standard theoretical blend, ecocriticism might seem little more than a special topic area within the general field of contemporary [End Page 295] literary study. But ecocritics do not see their approach that way. They share in a feeling of being at the forefront of critical response to an urgent practical problem of world-historical magnitude: the prospect of irreversible environmental devastation. They thus have a strong sense of a political mission, and they often feel that the urgency of their environmental concerns should sanction realigning the canon to give much greater prominence to nature writers and to the study of ecological themes. In their view, the natural world claims a special status as the ultimate ground and frame of all existence. It is an object of peculiar veneration and of primary experiential importance.The special conceptual status of ecology as a theme and a topic necessarily raises a question about its theoretical import. If the subject of ecocriticism is the relation of literature and the natural world, and if this relation is more important and more elemental than any other concern, does it not follow that ecocriticism should identify itself as a matrix for all literary study? To put the question operationally, in what way could ecology, as a subject matter and a concept, generate a theory of literature? Since the relation between organisms and natural environments is a necessary precondition of all experience, one could reasonably argue that the special topic of ecocriticism is more elemental than the topics of feminism, Marxism, or any other form of political criticism, and that the basic physical conditions of organic life take conceptual precedence over semiotics and theories of "culture" and "discourse."I shall argue that ecology cannot by itself generate a theory of literature or serve as the basis for a theory of literature, but I shall also argue that responsiveness to the sense of place is an elemental component of the evolved human psyche and that it thus can and should be integrated into a Darwinian literary theory. E. O. Wilson's notion of "biophilia" provides a Darwinian alternative to the ecological transcendentalism of "deep ecology," and the evolutionary epistemology of Konrad Lorenz provides a Darwinian rationale for locating the human psyche within its physical world. In constructing a bridge between the evolutionary epistemology of Lorenz and the idea of place within verbal narrative, I shall make use of a new branch of Darwinian aesthetics, Joseph Anderson's "ecological" version of "cognitive film theory."In order to illustrate the ways in which setting can be integrated into a Darwinian literary criticism, in the latter part of the essay... (shrink)

The backward induction argument purports to show that rational and suitably informed players will defect throughout a finite sequence of prisoner's dilemmas. It is supposed to be a useful argument for predicting how rational players will behave in a variety of interesting decision situations. Here, I lay out a set of assumptions defining a class of finite sequences of prisoner's dilemmas. Given these assumptions, I suggest how it might appear that backward induction succeeds and why it is actually fallacious. Then, (...) I go on to consider the consequences of adopting a stronger set of assumptions. Focusing my attention on stronger sets that, like the original, obey the informedness condition, I show that any supplementation of the original set that preserves informedness does so at the expense of forcing rational participants in prisoner's dilemma situations to have unexpected beliefs, ones that threaten the usefulness of backward induction. (shrink)

In her Vindication of the Rights of Men, Mary Wollstonecraft accused Edmund Burke of having contempt for his political opponents. Yet she herself expressed contempt for Burke and did so unapologetically. Readers have long regarded Wollstonecraft’s decision to match Burke’s contempt with one of her own as either a tactical blunder or evidence that she sought merely to ridicule Burke rather than argue with him. I offer an interpretation and defence of Wollstonecraft's rhetorical choices by situating the Vindication within eighteenth-century (...) debates about the dangers of elite contempt and the best methods for stifling it. Rather than countering Burke’s contempt with more of the same, Wollstonecraft’s Vindication marks a distinction between two forms of contempt. The first expresses the false sense of superiority experienced by elites who owe their social elevation to arbitrary differences of wealth or family. As such, it represents both an abuse of privilege and an anxious recognition among elites that their... (shrink)

This article uses concepts from sociology, history, and philosophy to explore the shifting relationship between moral values and business in the Western world. We examine the historical roots and intellectual underpinnings of two major business-society paradigms in ideal-type terms. In pre-industrial Western society, we argue that business activity was linked to society’s values of morality (the moral unity paradigm}-for good or for ill. With the rise of industrialism, we contend that business was freed from moral constraints by the alleged “invisible (...) hand” of efficient markets (the amoral theory of business). Armed with this understanding of the intellectual history of the moral unity and amoral business-society paradigms, we suggest that some variant of the moral unity paradigm may be recurring in post-industrial society. (shrink)

This article uses concepts from sociology, history, and philosophy to explore the shifting relationship between moral values and business in the Western world. We examine the historical roots and intellectual underpinnings of two major business-society paradigms in ideal-type terms. In pre-industrial Western society, we argue that business activity was linked to society’s values of morality (the moral unity paradigm}-for good or for ill. With the rise of industrialism, we contend that business was freed from moral constraints by the alleged “invisible (...) hand” of efficient markets (the amoral theory of business). Armed with this understanding of the intellectual history of the moral unity and amoral business-society paradigms, we suggest that some variant of the moral unity paradigm may be recurring in post-industrial society. (shrink)

Abstract:This paper contends that rationality is more properly evaluated as a property of an organization’s relationships with its stakeholders than of the organization itself. We predicate our approach on the observation that stakeholders can hold goals quite distinct from those of owners and top managers, and these too can be rationally pursued. We build upon stakeholder theory and Weber’s classic distinction betweenwertrationalitatandzweckrationalitat, adding to them the “new institutionalist” concept of the organization field (1983, 1991). Stakeholders employ a variety of (...) direct and indirect mechanisms to rationalize relations with the firm. We discuss four: internal subunits, legislated stakeholder participation, legislated access to information, and direct stakeholder activism. These developments are blurring the distinction between the environment and the organization by importing the values and goals of external stakeholders into the internal organization. They are also precipitating a more structured set of relationships among the actors who comprise the field. To the extent that thezweckrationalitatvalues of managers and owners as well as thewertrationalitatconcerns of stakeholders are met, the firm is more rational. (shrink)