En opinión de Francisco Puy, el jurista debe ser una persona que agarre decidido una experiencia jurídica siempre conflictiva, la describa, la valores y ofrezca una solución para limpiarla, pacificando los problemas que presenta de apropiación, transmisión, reparto, violación y reposición de derechos. Una experiencia jurídica se inicia cuando un individuo le dice a otro que una cosa es suya y el otro o los otros asienten o consienten en que es suya. Una experiencia jurídica crece, tornándose problemática, cuando un (...) individuo o dos o todo el grupo rechazan la declaración de uno o varios que dijeron que algo es suyo, que tiene un derecho de uso, de disfrute o de propiedad; un interés legítimo o cualquier otra opción jurídica. El Derecho es la misma cosa justa, lo justo materializado en el caso concreto real y práctico; y no lo justo legal ni lo justo diseñado en grandes teorías. Este enfoque teñido de realismo abre un amplio horizonte filosófico-jurídico que Puy ha recorrido en muchas direcciones, ensayando nuevas soluciones para cuestiones viejas. Catedrático ce Filosofía del Derecho de la Universidad de Santiago de Compostela durante 45 años, Francisco Puy ha dedicado una buena parte de su pensamiento a desarrollar una forma de estudio y comprensión de la experiencia jurídica, la prudencial, diferente de la usualmente utilizada en las universidades públicas. Su camino lo ha conducido por las sendas de la Tópica, la Retórica y la Dialéctica clásicas, que ha actualizado en diálogo con la moderna teoría de la argumentación jurídica. En este libro, los colegas, amigos y discípulos del maestro dialogan con él y entre ellos, transitando un panorama temático tan complejo como sugestivo. (shrink)

'The problem of the twentieth-century is the problem of the color-line.' Originally published in 1903, The Souls of Black Folk is a classic study of race, culture, and education at the turn of the twentieth century. With its singular combination of essays, memoir, and fiction, this book vaulted W. E. B. Du Bois to the forefront of American political commentary and civil rights activism. The Souls of Black Folk is an impassioned, at times searing account of the situation of African (...) Americans in the United States. Du Bois makes a forceful case for the access of African Americans to higher education, memorably extols the achievements of black culture (above all the spirituals or 'sorrow songs'), and advances the provocative and influential argument that due to the inequalities and pressures of the 'race problem', African American identity is characterized by 'double consciousness'. This edition includes a valuable appendix of other writing by Du Bois, which sheds light on his attitudes and intentions. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Guy Rohrbaugh and Allan Hazlett have provided two arguments against the thesis that musical works are types. In short, they assume that, according to our modal talk and intuitions, musical works are modally flexible entities; since types are modally inflexible entities, musical works are not types. I argue that Rohrbaugh’s and Hazlett’s arguments fail and that the type/token theorist can preserve the truth of our modal claims and intuitions even if types are modally inflexible entities. First, I consider two alternatives (...) for the type/token theorist proposed in recent literature about the topic: the created types’ solution and the created abstract objects’ solution. I argue that none of them is attractive for the type/token theorist because they do not preserve the theoretical advantages of type/token theories to explain musical works’ repeatable nature. Then, I focus on the arguments’ common premise that musical works are modally flexible entities. A deeper analysis of musical practice will show that this premise is not true: our modal claims do not imply that musical works could have had different intrinsic but, instead, extrinsic properties. Finally, I show how the nested types theory may offer a satisfactory explanation of this fact and how it captures the truth of our modal talk about musical works. (shrink)

To research teachers’ priorities on what was to be taught and learned during the COVID-19 lockdown, we asked Spanish Primary and Secondary teachers to choose and describe the activity they preferred among those carried out with their students during the pandemic. Our interest was to investigate what really happened in the classrooms, the type of learning favored by the practices, and the agreement between the teacher’s goals and their teaching We obtained 272 activities that we analyzed according to the proposed (...) goals, the types of learning worked, and the kind of teaching promoted. Results showed that most teachers proposed content-centered activities, oriented above all to verbal learning. There were clear differences between the proposed goals, partly student-centered, and what was really taught, essentially content-centered. We obtained two teaching profiles, one reproductive and the other constructive. (shrink)

_Winner of the Fabian Dorsch ESA Essay Prize._ Julian Dodd defends the view that, in musical work-performance practice, interpretive authenticity is a more fundamental value than score compliance authenticity. According to him, compliance with a work’s score can be sacrificed in cases where it conflicts with interpretative authenticity. Stephen Davies and Andrew Kania reject this view, arguing that, if a performer intentionally departs from a work’s score, she is not properly instantiating that work and hence not producing an authentic performance (...) of it. I argue that this objection fails. A detailed analysis of work-performance practice reveals, first, that the normative scope of interpretive authenticity encompasses the practice of composing musical versions and that, second, when performers sacrifice score compliance to maximize interpretive authenticity, they are performing the target work by means of performing a version of it. By means of the nested types theory, I then show how performances produced in this way can be properly formed instances, and hence authentic performances, of their target work. (shrink)

This paper discusses methodological issues of two recent experiments conducted by Christopher Bartel, and Elzė S. Mikalonytė and Vilius Dranseika, respectively, about the repeatability and individuation of musical works. I argue, first, that the reliability of their results about people’s intuitions in our everyday musical practices can be questioned due to the use of descriptions instead of musical stimuli of the works and performances involved in the cases tested. This procedure is prone to place participants in an epistemic situation in (...) which their mental capacities for their everyday judgments are not deployed and makes their judgments more vulnerable to the problem of “filling in”. I provide empirical data of an experiment that implements musical stimuli, obtaining large effect sizes regarding the results obtained by Bartel, Mikalonytė and Dranseika. In addition, I argue that the results of three scenarios of the experiment conducted by Mikalonytė and Dranseika are suspicious of being influenced by presentation effects that favor the contextualist intuition that the composer is a relevant parameter in work-individuation. Formal and superficial aspects of the description of their cases would cause these effects. I supply empirical data of an experiment that neutralizes those effects, obtaining moderate and large effect sizes regarding the results of Mikalonytė and Dranseika. (shrink)

The determination thesis is the idea that art-ontological facts are determined by the folk ontological conception of artworks embedded in our artistic practices. From this thesis, descriptivism in the metaontology of art has been often characterized as the view that the task of art-ontology is to describe that folk conception. Amie Thomasson and Andrew Kania provide two paradigmatic accounts within this path. In this paper, I argue that this descriptivist approach is ungrounded because the determination thesis suffers from presupposition failure. (...) It presupposes that, whenever there is a practice of producing and appreciating artworks, there is also a folk ontological conception about those artworks. This presupposition, an implicit premise in Thomasson's and Kania's accounts, will be revealed as false, paying attention to the way artistic practices have evolved. I will conclude that descriptivism should abandon this approach and embrace metaontological realism if it aims to be a plausible view. (shrink)

The distinguished American civil rights leader, W. E. B. Du Bois first published these fiery essays, sketches, and poems individually nearly 80 years ago in the Atlantic, the Journal of Race Development, and other periodicals. This volume has long inspired readers with its militant cry for social, political, and economic reforms for black Americans.

I have recently defended two ideas (Puy 2022a). The first is that our modal claims about musical works do not imply that they are modally flexible entities, i.e.

In the citizen–candidate approach each citizen chooses whether or not to run as candidate. In a single-peaked preference domain, we find that the strategic entry decision of the candidates eliminates one of the most undesirable properties of Plurality rule, namely to elect a poor candidate in three-candidate elections since as we show, the Condorcet winner among the self-declared candidates is always elected. We find that the equilibria with three candidates are basically 2-fold, either there are two right-wing candidates and a (...) left-wing candidate who wins the elections (or its symmetric), or there is a right-wing candidate, a left-wing candidate, and a candidate located in between the two others who becomes winner. We also show that when four or more candidates enter the contest, Plurality rule can elect the Condorcet-loser among the self-declared candidates. (shrink)

This chapter presents an essay by W. E. B. Du Bois that deals with the issue of race. He raises questions such as: What is the real meaning of race. What has, in the past, been the law of race development? What lessons has the past history of race development to teach the rising Negro people? He describes the American Negro Academy, which aims at once to be the epitome and expression of the intellect of the black-blooded people of America, (...) the exponent of the race ideals of one of the world's great races. He concludes by outlining a proposed creed for the Academy. (shrink)

Impure Eliminativism about Categories is the idea that ontological categories are not wholly eliminable insofar as they have epistemic value to understand the nature of ordinary and scientific objects. From the perspective of Impure Eliminativism, different criticisms have been addressed to substantialist approaches in metaphysics and, in particular, to John Heil’s substance-mode two-category ontology. The aim of this paper is to contribute to this critical project by extending its scope to C. B. Martin’s substantialism. The thesis I defend is that (...) Martin’s substratum-trope two-category ontology satisfies the elimination criterion of Impure Eliminativism for ontological categories because either it is inconsistent or else it supplies a non-exhaustive and non-exclusive categorization of ordinary and scientific objects and their properties. First, I introduce Impure Eliminativism and its novel elimination criterion for ontological categories, and I survey recent criticisms of substantialism from that perspective. Second, I show that nothing satisfies Martin’s definition of substratum in a way that is consistent with Martin’s view on tropes. Third, I note that the attempts to avoid the inconsistency make the categorization supplied by Martin’s ontology either non-exhaustive or non-exclusive. I then conclude that Martin’s substratum-trope categorial system should be eliminated in accordance with the criterion of categorial elimination of Impure Eliminativism. (shrink)

This paper aims to shed light on the question of whether musical appropriation is ethically unobjectionable. James Young (2021) has recently advanced a position on this topic, according to which, whereas the appropriation of a whole work is uncontroversially non-permissible, the appropriation of parts of a work is usually permissible. He grounds this view in ontological matters and in a criterion of fair use in terms of economic harm to the source work’s composer. I argue that, pace Young, we cannot (...) make general ethical claims about musical appropriation because their truth is sensitive to the musical genres that the involved works belong to. First, I clarify the scope of musical appropriation by means of considerations on musical practices and ontology. This will reveal that versions and covers are not genuine cases of musical appropriation. In a second step, I consider a specific kind of musical appropriation: using the first measures of a source work as the first measures of a secondary work. I show that, even if we assume Young’s ontological framework and his criterion on fair use, the instances of this kind of musical appropriation count as fair or unfair depending on the musical genres of the involved works due to their normative implications for the composition and appreciation of those works. (shrink)

La belleza en Charles S. Peirce: Origen y alcance de sus ideas estéticas is a clearly written and well-structured book on Peirce’s aesthetics. Barrena’s thesis is that aesthetics, conceived as a normative science, is central to Peirce’s philosophical system, and especially to his pragmaticism. The goal of the book is twofold: it aims to offer an analysis of the biographical and theoretical aspects of Peirce’s interest in aesthetics and the arts and purports to elaborate a pragmaticist aesthetics. Both objectives can (...) be said to be well achieved. The book is divided into four chapters. The first is devoted to... (shrink)

1. Introducción a la ciencia del derecho natural.

I defend in this paper the thesis that there is a complex relation between minimalist musical works and the metaphysics of time, involving ontological, epistemological and axiological issues. This relation is explained by means of three sub-theses. The first one is that minimalist musical works literally exemplify –in Goodman’s sense–the properties ascribed to time by the metaphysical static view: 1) minimalist works intrinsically possess those properties by being composed according to the technique of minimal repetition; 2) they extrinsically refer to (...) those properties in virtue of pragmatic processes of accommodation of disagreements on what is taken to be common ground in a particular musical context. The second sub-thesis is that, in exemplifying those properties, minimalist musical works are valuable from two perspectives: a formalist one, according to which minimalist works purify the concept of what a musical work is; and a cognitive one, insofar they allow us to obtain phenomenal knowledge of what it is like to experience time as the static view conceives it. The third sub-thesis is that each particular minimalist musical work is valuable insofar it achieves either the formalist or the cognitive goals in an original way. (shrink)

This paper is devoted to face recent views in the ontology of music that reject that musical works are repeatable in musical performances. It will be observed that musical works’ repeatability implies that they are audible and variable in their performances. To this extent, the aim here is to show that repeatability, audibility and variability are ontologically substantive features of musical works’ nature. The thesis that will be defended is that repeatability, audibility and variability are dispositional non-aesthetic properties of musical (...) works. The plausibility of the dispositional account of musical works’ repeatability, audibility and variability will lead us to the conclusion that they are ontologically substantive features of musical works’ nature, and consequently, any suitable explanation of the ontology of musical works must not ignore them. (shrink)

This article is devoted to examining the ontological foundations of computer-generated music scores. Specifically, we focus on the categorial question, i.e., the inquiry that aims to determine the kind of ontological category that musical works belong to. This task involves considerations concerning the existence and persistence conditions for musical works, and it has consequences for the determination of what it is to compose a musical work. Our contention is that not all the possible answers to the categorial question in the (...) ontology of music are equally compatible with the hypothesis that creative music systems compose musical works. The thesis defended here is that musical Platonism is the proposal that best accommodates this hypothesis. We claim that musical Platonism is the answer to the categorial question that offers the most straightforward explanation for the possibility of considering creative music systems as genuinely composing musical works. Moreover, we uphold that the notion of creative-evaluative discovery as the characterization of what it is to compose a musical work entailed by Platonism is the simplest explanation of the process developed by a computer in producing musical works. For this purpose, we will take as empirical data the features of the Iamus computer, a system that produces musical works autonomously using evolutionary algorithms and following an evo-devo strategy. The works generated by this computer have been recorded by the London Symphony Orchestra and other renowned international soloists, and its impact has been notable in the literature (Ball, 2012; Coghlan, 2012; Berger, 2013). (shrink)

This book offers a critical feminist perspective on the widely debated topic of transitional justice and forgiveness. Louise Du Toit examines the phenomenon of rape with a feminist philosophical discourse concerning women’s or ‘feminine’ subjectivity and selfhood. She demonstrates how the hierarchical dichotomy of male active versus female passive sexuality – which obscures the true nature of rape – is embedded in the dominant western symbolic frame. Through a Hegelian and phenomenological reading of first-person accounts by rape victims, she excavates (...) an understanding of rape that also starts to open up a way out of the denial and destruction of female sexual subjectivity. (shrink)

This paper is devoted to face recent views in the ontology of music that reject that musical works are repeatable in musical performances. It will be observed that musical works? repeatability implies that they are audible and variable in their performances. To this extent, the aim here is to show that repeatability, audibility and variability are ontologically substantive features of musical works? nature. The thesis that will be defended is that repeatability, audibility and variability are dispositional non-aesthetic properties of musical (...) works. The plausibility of the dispositional account of musical works? repeatability, audibility and variability will lead us to the conclusion that they are ontologically substantive features of musical works? nature, and consequently, any suitable explanation of the ontology of musical works must not ignore them. nema. (shrink)

The present work looks at what we call “the multiverse of quantification”, where visible and invisible numbers permeate all aspects and venues of life. We review the contributions of different authors who focus on the roles of quantification in society, with the aim of capturing different and sometimes separate voices. Several scholars, including economists, jurists, philosophers, sociologists, communication and data scientists, express concerns or identify critical areas of our relationship with new technologies of ‘numericization’. While mindful of the important specificities (...) of the different families of quantification, we use our broad and holistic canvas to explore possible spaces for a more systematic investigation of incumbent and novel quantifications, as to increase communication among disciplinary communities, and among these and society, in the pursuit a democratic agency and self-defence. (shrink)

The text of the treatise “The Propositional Logic of Boethius” was finished in 1939. Prof. Jan Lukasiewicz wished at that time to issue it in the second volume of “Collectanea Logica”; as a result of political events, he was not able to carry out his plan. In 1938, I published an article in “Erkenntnis” entitled “AUS- sagenlogik im Mittelalter”; this article included the contents of a paper which I read to the International Congress for the Unity of Science in Cambridge, (...) England, in 1938 (Cf. Erkenntnis, vol. 7, pp. 160-168). The subject matter of this paper touched upon that of the above-mentioned treatise. Recently an article of Mr. Rend van den Driessche, “Sur le ‘de syllogismo hypothetico’ de Boece”, was published in the journal “methodos” (vol. I, no. 3). Mr. van den Driessche referred in this article to the article on propositional logic in the middle ages, which had appeared in “Erkenntnis”. This reminded me of my yet-unpublished treatise on the propositional logic of Boethius. (shrink)

Literature and the soul.--Literature and light.--Literature and beauty.--Literature and the Word.