In The Ethics of Food, Gregory E. Pence brings together a collection of voices who share the view that the ethics of genetically modified food is among the most pressing societal questions of our time. This comprehensive collection addresses a broad range of subjects, including the meaning of food, moral analyses of vegetarianism and starvation, the safety and environmental risks of genetically modified food, issues of global food politics and the food industry, and the relationships among food, evolution, and human (...) history. (shrink)

Ambitious in scope and innovative in concept, this book offers an overview and critique of the conventions surrounding artistic creativity and intellectual endeavour since the outset of 'the broader modernity', which the author sees as beginning with the decline of feudalism and the Church. As a work of intellectual history, it suggests that art and the conventions associated with the artistic constitute a secular institution that has supplanted pre-Reformation theology. Beginning with Luther, Calvin, and Shakespeare and culminating with the Kantian (...) notion of the artist as an 'original genius,' the author reconstructs the steps by which art and creative activity were installed as the redemptive values of a modernity. In the process, the author reads passages from Plato, Proust, Donne, Locke, Berkeley, Hume, Kleist, Rousseau, Melville, Wittgenstein, Benjamin, as well as the graphic works of Holbein, Dürer, Mondrian, and Rothko. (shrink)

While the theses that human beings are primarily passional creatures and that religion is fundamentally a product of our sensible nature are both closely linked to David Hume, Hume's contemporary Henry Home, Lord Kames , also defended them and explored their implications. Importantly, Kames does not draw the same sceptical conclusions as does Hume. Employing a sophisticated account of the rationality of what he calls the ‘sensitive branch’ of human nature, Kames argues that religion plays a central role in (...) the development and perfection of human life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Benjamin ButtonHenry Alexander (bio)IBenjamin Button was born at the age of seventy and as the years accumulated, grew younger physically. There are in his life three separate lines or threads. His chronological age begins in September of 1860 and terminated seventy years later. His "bodily age" consists of those stages of physical changes and of the different ways that he looked to others and to himself. (...) In 1860, he was an old man; his hair was sparse, scraggly, and nearly white; he had "a long smoke-colored beard"; his eyes were faded, watery, and tired; his teeth were ancient; his skin wrinkled, his voice had a cracked quaver and he had an aged stoop, even though he was five feet eight inches tall. From that time on, he gradually and steadily lost these characteristics of old age and became younger looking both to others and to himself until that time in 1930 when, an infant in his white crib, everything "faded out altogether from his mind." Finally, the third thread in Button's life consists of various psychological stages, attitudes, and feelings: his querulousness, his compliancy, his inquisitiveness, his assertiveness, his love for his wife, his business ability, his generosity, his enthusiasm for pleasure, his discontent with home life, his love of military activity and excitement, his delight in the company [End Page 1] of young women, the pleasure he took in his youthful appearance, his ambition to succeed at Harvard, the humiliations he suffered, his childish cheerfulness. These three threads in Benjamin Button's life—his chronological age, his bodily age, and his psychological age are seldom congruent and frequently unharmoniously interwoven.There are times when in ordinary life we may distinguish one or another of these threads out of a person's life. We may on occasion comment that someone looks so much older than she is where physical hardship, unusual sickness, or emotional pressures have left their scars. We may remark that another is so very young for her age, where, for example, inexperience, callousness, naivete show themselves in a person whose age would not lead us to expect such traits. We may remark upon how well one has kept oneself in shape when one's physique, muscle tone, and endurance are those of a decidedly younger person. Sometimes, certain traits of character—crabbiness, bossiness, old womanishness, crankiness, arbitrariness—associated with the elderly, may unexpectedly emerge in young people. Sometimes, traits perhaps conventionally associated with youth may crop up at a later stage of life, for example, carelessness, daredeviltry, sensuality, self-absorption, etc. The theme comes out in cases where we are surprised or shocked by the discrepancies between age and appearance or by changes in appearance or by psychological shifts which strike one as dissonant with one's own or another's age. There must be numerous variations on such discrepancies and they crop up from time to time in the ordinary course of things.But Benjamin Button's life was not ordinary. Those three threads of a person's life which may on occasion be singled out or contrasted are in his case systematically independent of one another. His years bear little relation to his physical age. His psychological states reflect little, if anything, of his years. Except for his middle years (between thirty-five and forty, say), there was little congruence between his chronological age, on the one hand, and his physical appearance or his psychological life, on the other.This dissonance between physical and chronological age has its ironical twists. For instance, when Benjamin was about twenty (in years), he met Hildegarde Moncrief (to whom he was later married). During their first meeting, she mistook him for his father's brother and she told Benjamin that fifty is "the mellow age" and that she "loves fifty." Of course, he appears to be a man of fifty, but he has forgotten how he appears [End Page 2] to others. He even "longed passionately to be fifty" (p. 73).1 The irony is that to Hildegarde and to everyone else, he was fifty.One anomaly that runs through much of Benjamin Button's life is his unawareness as to how... (shrink)

In its open improvisations, lapidary lyrics, errant melodies, and relentless pursuit of spontaneity, the British experimental band Henry Cow pushed rock music to its limits. The band's rotating personnel, sprung from rock, free jazz, and orchestral worlds, synthesized a distinct sound that troubled genre lines, and with this musical diversity came a mixed politics, including Maoism, communism, feminism, and Italian Marxism. In Henry Cow: The World is a Problem Benjamin Piekut tells the band's story-from its founding in (...) Cambridge in 1968 and later affiliation with Virgin Records to its demise ten years later-and analyzes its varied efforts to link aesthetics with politics. Drawing on ninety interviews with Henry Cow musicians and crew, letters, notebooks, scores, journals, and meeting notes, Piekut traces the group's pursuit of a political and musical collectivism, offering up its history as but one example of the vernacular avant-garde that emerged in the decades after World War II. Henry Cow's story resonates far beyond its inimitable music; it speaks to the avant-garde's unpredictable potential to transform the world.--Back cover. (shrink)

Over the past two decades, the renowned political theorist William E. Connolly has developed a powerful theory of pluralism as the basis of a territorial politics. In this concise volume, Connolly launches a new defense of pluralism, contending that it has a renewed relevance in light of pressing global and national concerns, including the war in Iraq, the movement for a Palestinian state, and the fight for gay and lesbian rights. Connolly contends that deep, multidimensional pluralism is the best way (...) to promote justice and inclusion without violence. He advocates a deep pluralism—in contrast to shallow, secular pluralism—that helps to create space for different groups to bring their religious faiths into the public realm. This form of deep pluralism extends far beyond faith, encompassing multiple dimensions of social and personal lives, including household organization and sexuality. Connolly looks at pluralism not only in light of faith but also in relation to evil, ethics, relativism, globalization, and sovereignty. In the process, he engages many writers and theorists—among them, Spinoza, William James, Henri Bergson, Marcel Proust, Gilles Deleuze, Giorgio Agamben, Talal Asad, Michael Hardt, and Antonio Negri. _Pluralism_ is the first book in which Connolly explains the relationship between pluralism and the experience of time, and he offers readings of several films that address how time is understood, including _Time Code_, _Far from Heaven_, _Waking Life_, and _The Maltese Falcon_. In this necessary book Connolly brings a compelling, accessible philosophical critique together with his personal commitment to an inclusive political agenda to suggest how we might—and why we must—cultivate pluralism within both society and ourselves. (shrink)

While the theses that (1) human beings are primarily passional creatures and that (2) religion is fundamentally a product of our sensible nature are both closely linked to David Hume, Hume's contemporary Henry Home, Lord Kames (1696–1782), also defended them and explored their implications. Importantly, Kames does not draw the same sceptical conclusions as does Hume. Employing a sophisticated account of the rationality of what he calls the 'sensitive branch' of human nature, Kames argues that religion plays a central (...) role in the development and perfection of human life. (shrink)

Benjamin Constant (1767–1830) is the most important French liberal that most casual liberals have never heard of. Everyone knows something about Montesquieu because checks and balances and the separation of powers are household terms. Tocqueville’s Democracy in America and The Old Regime and the Revolution are both established classics. But Constant is largely terra incognita even for those with a university degree—to their loss.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:God’s Knowledge of the World: Medieval Theories of Divine Ideas from Bonaventure to Ockham by Carl A. VaterBenjamin R. DeSpainVATER, Carl A. God’s Knowledge of the World: Medieval Theories of Divine Ideas from Bonaventure to Ockham. Washington, D.C.: The Catholic University of America Press, 2022. xi + 294 pp. Cloth, $75.00Carl Vater skillfully blends historical and constructive concerns in his study of medieval theories of the divine ideas. (...) The book, first, makes a significant contribution to the body of scholarly resources on medieval philosophy by systematically mapping out the complex intellectual history of the divine ideas between the years 1250 and 1325. Throughout the work Vater displays a staggering command of the relevant literature, figures, and ideas from this period of philosophical development. Second, he provides a robust defense and promotion of John Duns Scotus’s theory of the divine ideas, which he regularly insists is the best theory. Through careful analysis of the often subtle differences in medieval articulations of the divine ideas to answer the questions of how God knows and produces creatures, Vater makes the case that Scotus avoided certain pitfalls in earlier theories that rely on a flawed understanding of relations influenced, principally, by Avicenna’s notion of essence.The book itself is divided into five parts with each systematically detailing a particular theory, beginning with the “imitability theory” represented by Thomas Aquinas, Henry of Ghent, and Bonaventure—the one figure, in Vater’s narrative, capable of escaping Scotus’s subsequent critiques. According to Vater, the imitability theory is defined by several notable characteristics, including that the divine ideas are “secondary objects of the divine intellect when it knows the divine essence,” that they perform both cognitive and causal roles, that they are relations, and that there are many of them. The “infinite intellect theory” critiques the imitability theory for depending on a notion of relations that is mistaken for supposing that relations can be known before the terms of the relation are themselves known. In this section, Vater examines the works of Peter John Olivi and his student Petrus de Trabibus. The third part considers what Vater calls the “objectum cognitum theory” developed by James of Viterbo. Here, according to Vater, we encounter the first signs, following Olivi and de Trabibus’s critique of the imitability theory, of the shift away from identifying the divine ideas with relations to defining them as creatures themselves. This shift culminates in the “creatura intellecta theory” introduced by Richard of Mediavilla, but it is not properly developed until Scotus, who concludes that “God knows relations because he knows possible creatures.” The section ends with an analysis of Scotus’s influence on the theories of early Thomists and Scotists, including John of Paris, Thomas of Sutton, and Henry of Harclary. In the fifth part, Vater turns to the “nominalist theory” of Peter Auriol and [End Page 373] William of Ockham. Although both Auriol and Ockham offer accounts of the divine ideas, these are, as Vater says, little more than nods to the Augustinian tradition that ultimately amount to a rejection of the divine ideas.Vater’s approach to these medieval theories has many strengths. By not only classifying the prominent theories during this period but also systematically organizing his interpretation of each respective author, he is able to create a comparative framework for assessing the central issues at play in the divine ideas, such as their status, definition, cognitive and causal roles, plurality and unity, exemplarity, and the question of nonexistent possibles, and he traces variations in each area to identify where change, development, and critique are actually occurring within this seventy-five years of intellectual history. He also is attentive to figures often overlooked in larger narrations of medieval philosophy, and he locates their contributions to the varied development of the divine ideas. More importantly, however, Vater is able to maintain coherence in his evaluation of these complex, intertwining layers of medieval philosophical reflection by constantly returning to the overarching theme of relations in the movement from identifying the divine ideas with relations to approaching them as creatures themselves. Vater is correct when he notes that the divine ideas form a... (shrink)

O artigo desenvolve uma leitura em paralelo de dois textos: um trecho de _Der tolle Mensch_ e a parábola _Ein commentar_. Não procurando realizar uma análise comparada, procura-se apontar algumas aproximações e alguns distanciamentos. Como mediadores desta tentativa de leitura, utilizamos uma carta de Walter Benjamin e os comentários de Modesto Carone sobre a parábola de Kafka.

This paper concerns the role of the transcendental distinction between agents qua phenomena and qua noumena in Kant's theory of free will. It argues (1) that Kant's incompatibilism can be accommodated if one accepts the "ontological" interpretation of this distinction (i.e. the view that agents qua noumena are ontologically prior to agents qua phenomena), and (2) that Kant's incompatibilism cannot be accommodated by the "two-aspect" interpretation, whose defining feature is the rejection of the ontological priority of agents qua noumena. The (...) ontological interpretation allows Kant to be an incompatibilist because the ontological priority of agents qua noumena "ontologically undermines" the significance of phenomenal determinism for agents' free will. That is, since agents qua noumena are ontologically prior to agents qua phenomena, the fact that agents qua noumena are not subject to determinism is more fundamental than the fact that agents qua phenomena are subject to determinism, and it is the more fundamental fact that we should be concerned with in the metaphysical foundations of moral responsibility. Recent (independent) work by myself, Eric Watkins, and Robert Hanna is drawn on to demonstrate that the ontological interpretation can mount a better defense against some traditional objections than has often been thought. -/- According to the two-aspect interpretation, the transcendental distinction between agents qua noumena and qua phenomena is a semantic and epistemological distinction. Since it rejects the ontological priority of noumena, it has no way to assert that the non-determinism of agents qua noumena is more metaphysically fundamental than the determinism of agents qua phenomena. For the two-aspect interpretation, the truth of determinism must remain just as fundamental as the truth of any other characterization of agents. This means that, on the two-aspect interpretation, there is no better reason to call Kant an incompatibilist than there is to call him a compatibilist. Since Henry Allison has presented the most detailed two-aspect interpretation of the agential transcendental distinction, the arguments against the two-aspect distinction address his interpretation. Part of Allison's strategy is to argue that phenomenal determinism poses less of a problem for free will if we accept his accounts of the Second Analogy and empirical psychology. I point our problems in these accounts and argue that this strategy cannot be accepted. -/- . (shrink)

John Henry Newman made two translations of Athanasius's Orations Against the Arians: in the first half of the 1840s, when still an Anglican, for the Oxford Library of the Fathers series and a second attempt late in his life, a “free translation” published in 1881, by which time he was a Cardinal. The changes that he made to his original translation reflect thirty-five years of reading Catholic theology. In various ways, the new translation shares the theology of Leo XIII's (...) Thomistic revival. (shrink)

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate (...) students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library T126964 Anonymous. By Benjamin Franklin. Only 100 copies printed. London: printed in the year, 1725. 32p.; 8°. (shrink)

Victorian Critics of Democracy was first published in 1938. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

Dentro de los lindes de La obra de arte en la época de su reproductibilidad técnica de Walter Benjamin y el Nacimiento de la tragedia de Friedrich Nietzsche, este ensayo investigará la intersección entre el concepto de aura y la tragedia griega ática del imaginario nietzscheano. Encontraremos que el aura no puede dar cuenta de la tragedia griega en cuanto esta última, en vez de experimentarse como una lejanía, se vive y describe como una inmersión que, pese a todo, (...) mantiene su valor cultual. El trabajo contestará, primero, qué es el aura; luego, cómo entiende Nietzsche a la tragedia griega; finalmente, abordará el cruce aura-tragedia. (shrink)

This essay first contextualizes Adorno's essays in literary criticism in relation to his historico‐philosophical account of modern rationalization and late capitalism, his dialectical theory of culture, and his return to postwar Germany. It then presents the neo‐Marxist and formalist principles that inform his literary criticism, emphasizing the artwork's critical relationship to society, on the one hand, and the theory of aesthetic experience undergone by the artwork's recipient on the other. These principles are exemplified in selective readings of Adorno's essays on (...) Heinrich Heine and Friedrich Hölderlin. The essay concludes by polemically juxtaposing Adorno's practice of literary criticism with that of neo‐Aristotelian “ethical criticism.”. (shrink)

Guy Petitdemange, actuel et talentueux rédacteur en chef de la revue Archives de Philosophie, publie dans ce gros volume quelque vingt-trois articles parus entre 1972 et 1999, concernant Rosenzweig, Benjamin, l’École de Francfort, Levinas, Ricœur, Derrida, de Certeau, ainsi qu’un inédit consacré à Merleau-Ponty. C’est donc à une traversée significative de la philosophie du XXe siècle qu’il nous ouvre, ou plutôt à une rencontre des philosophes, dans la singularité de leurs positions respective..

b>: Replacing faulty nineteenth century physics by its orthodox quantum successor converts the earlier materialist conception of nature to a structure that does not enforce the principle of the causal closure of the physical. The quantum laws possess causal gaps, and these gaps are filled in actual scientific practice by inputs from our streams of consciousness. The form of the quantum laws permits and suggests the existence of an underlying reality that is built not on substances, but on psychophysical events, (...) and on objective tendencies for these events to occur. These events constitute intrinsic mind-brain connections. They are fundamental links between brain processes described in physical terms and events in our streams of consciousness. This quantum ontology confers upon our conscious intentions the causal efficacy assigned to them in actual scientific practice, and creates a substance- free interactive dualism. This putative quantum ontology has previously been shown to have impressive explanatory power in both psychology and neuroscience. Here it is used to reconcile the existence of physically efficacious conscious free will with causal anomalies of both the Libet and Einstein-Rosen-Podolsky types. (shrink)

'Het is wreed, weet je, dat muziek zo mooi kan zijn. Ze heeft de schoonheid van de eenzaamheid & van pijn; van kracht & vrijheid. De schoonheid van de teleurstelling & de nimmer verzadigde liefde. De wrede schoonheid van de natuur, en de eeuwigdurende schoonheid van de monotonie.'.

Henry Longueville Mansel (1820-1871), Anglican theologian and philosopher, has wrongly been remembered as a Kantian agnostic whose ideas led to those of Herbert Spencer. Francesca Norman's book provides a thorough revisioning of Mansel's theology in context and reveals the personal basis of Spencer's animus towards Mansel. Mansel is revealed as an orthodox Anglican theistic personalist whose ideas inspired Newman to write his Grammar of Assent. Located in context, Mansel's personal connections with leading Tory figures such as Lord Carnarvon and (...) Benjamin Disraeli are explored. Key controversies with Frederick Denison Maurice and John Stuart Mill are interpreted with reference to the party political elections of 1859 and 1865. Norman offers a vital vision of nineteenth-century theology, philosophy, and politics. (shrink)

The French sociologist and philosopher Henri Lefebvre developed an account of modernity that combined rigorous critique, a rejection of nostalgia, left pessimism or transcendental appeals, and the search for utopian potentialities in the hidden recesses of the everyday. This article will focus on a topic that is arguably central to his ‘critique of everyday life’ but has been entirely overlooked in the literature thus far: that of boredom. Although often dismissed as trivial, boredom can be understood as a touchstone through (...) which we can grasp much wider anxieties, socio-cultural changes and subjective crises that are intrinsic to our experience of modernity. Curiously, although Lefebvre was very interested in boredom, he did not analyse it systematically, and he used terms like ‘boring’ or ‘boredom’ in loose, elliptical and seemingly contradictory ways. Such a lack of clarity reveals his ambivalence about this phenomenon, but also highlights a subtle pattern of differentiation he makes between particular modalities of boredom that can be highly illuminating. Through a careful reading of the full range of Lefebvre’s writings, we can begin to understand how he discriminates between different experiences and expressions of boredom, some of which are unambiguously negative, whereas others are judged more positively. With respect to the latter, as he says in Introduction to Modernity, under certain conditions boredom can be full of desires, frustrations and possibilities. Through such an investigation, we start to glimpse latent connections between boredom and utopian propensities that caught the attention not only of Lefebvre but also such thinkers as Ernst Bloch, Siegfried Kracauer and Walter Benjamin. (shrink)