This volume of the classic series is devoted to the claims, arguments, and perspectives of the New Atheists. The volume collects original work on these topics of leading thinkers in the philosophy of religion, epistemology, and metaphysics, and philosophy of science. These studies are punctuated by an original short story by a leading novelist.

The Weimar Nietzsche-Bibliographie, which is available online along with an exhaustive index, contains hundreds of entries, ranging from "absolute Musik" to "Zynismus." But despite references to his treatment in film and to the names of several novelists, it provides no rubric for Friedrich Nietzsche in novels or otherwise as a fictional figure.Yet the twenty-first century alone has already produced at least four such works, in addition to two others over the preceding eighty years—not to mention films in Italian and (...) class='Hi'>French. Liliana Cavani's controversial 1977 Italian film Al di là del bene e del male was widely criticized for its focus on violent sex, including... (shrink)

The assumption underlying this collection of essays is that recent developments in philosophy and fiction have brought them closer than they have been. Novelists' insights into the ambiguity of experience, and, at the same time, philosophy's trend towards concreteness in such areas as phenomenology, point to areas of rapprochement. What the novel can do, philosophically speaking, is to formulate "the initial stages of... metaphysical thinking," and "carry out an imaginative or emotional exploration of a system of thought." In his introduction, (...) Cruickshank suggests that the French novel has developed along these lines, in the generation which begins with Bernanos and continues through Robbe-Grillet. Most of these essays explore philosophical ideas in the novels without showing how radical developments in technique actually affect them. Martin Esslin takes this further step where he notes that because of Queneau's belief in the meaninglessness of the world, the artist has creative freedom. Queneau's linguistic innovations derive in large part from this principle. Only Geoffrey Hartman, in his discussion of Blanchot, takes this vexed question of the relation between philosophy and literature down its labyrinthine paths to the point where one becomes legitimately the embodiment of the other. While many of these essays are conventional literary criticism, the best of them interpret the title in its boldest sense, and show how philosophical intent can alter the very fabric of the novel, while, alternatively, the novelist can offer genuine insight into philosophical issues.—C. L. B. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 371-373 [Access article in PDF] Book Review French Fiction in the Mitterrand Years: Memory, Narrative, Desire French Fiction in the Mitterrand Years: Memory, Narrative, Desire, by Colin Davis & Elizabeth Fallaize; 160pp. Oxford: Oxford University Press, 2000, $24.95. Like the Mitterrand era itself, Davis and Fallaize's French Fiction in the Mitterrand Years is somewhat uneven. The election of François Mitterrand in (...) 1981 as the President of the Fifth Republic was a milestone in modern French history. After the conservative politics of the 1960s and 70s, the election of a socialist president and legislature seemed to offer the possibility of a new political and intellectual atmosphere. Indeed, the first two years of Mitterrand's presidency brought sweeping reforms. However, several scandals, continued economic problems and later "cohabitation" with a right-wing legislative majority muted the original verve. Mired in partisan politics, the government often appeared ineffectual.As with the political arena, French fiction of the 1980s was produced under the shadow of another long-standing French institution--the nouveau roman. Again we find a new direction, a turning-away from the past during the 1980s. Yet there was no outright refusal. There were no manifestos or polemical articles written by budding novelists, no claim to Literature. As Annie Ernaux describes her work Une Femme (1987): "Mon projet est de nature littéraire [...]. Mais je souhaite rester, d'une certaine façon, au-dessous de la littérature" (My project is of a literary nature [...]. But I wish to remain, in a certain way, beneath literature (p. 144).This lack of pretension is important, for it helps us better understand the writing of the period. As Davis and Fallaize point out, in the fiction of the Mitterrand years we find a return to history, to the subject, and to storytelling, three areas disdained by the new novelists of the 1950s and 60s (pp. 12-15). But at the same time, there is not an elegiac return to the conventions of the past. There are no didactic tales of Lucien de Rubempré's lost illusions. A good example of this is Patrick Roegiers's Beau Regard (1990), the account of a dinner during which hardly anyone speaks, told by a narrator who knows no one else at the table. Davis and Fallaize note: "In these novels the event is merely an incident, the story no more than an anecdote, and the anecdote merely a fait divers" (p. 147). Although not inconsequential, argue Davis and Fallaize, there is an unquestionable modesty to these texts.In the introduction to their work Davis and Fallaize write: "The aim of the current book is to analyze some of the most important and interesting directions in French fiction through detailed discussions of a selection of texts, all published during François Mitterrand's period as President of the Fifth Republic (1981-95)" (p. 1). This is exactly what they accomplish, selecting six novels--Duras's L'Amant (The Lover, 1984), Pennac's Au bonheur des ogres (The Scapegoat, 1985), Semprun's La Montagne blanche (1986), Echenoz's Lac (Lake, 1989), Guilbert's A l'ami qui ne m'a pas sauvé la vie (To the Friend Who Did Not Save [End Page 371] my Life, 1990), and Ernaux's Passion simple (Simple Passion, 1991)--and spending one chapter on each. They also discuss some of the important features of the era's fiction including memory, especially of World War II, contemporary culture and postmodernism, and autofiction.However, the book's limited goal also leads to some of its problems. As a whole, the work lacks cohesion. Chapters often read like individual essays. Moreover, although some chapters are well-grounded critically and contextually, others are not. Finally, the conclusion is too brief to synthesize aptly the various topics discussed in the previous chapters. The reader does not have a solid grasp of the fictional landscape of the Mitterrand years, but rather, as the introduction indicated, knowledge of "some of the [...] interesting directions in French fiction."One of the most illuminating chapters considers Daniel... (shrink)

Several years before the recent French-American diplomatic squabble, Saul Bellow and Philip Roth, arguably America’s two greatest novelists, wrote major works of a markedly anti-French tenor. Indeed, both Ravelstein and The Human Stain, with their disparate griefs against the French, share a remarkably similar plot: against a back-drop of Gallic treachery, a courageously conservative academic, condemned to death by his sexual excesses, asks, before dying, a novelist friend to write the story of his life. Framed by a (...) consideration of an idiosyncratic work of American sculpture that appears to depict the sexual servicing of Abraham Lincoln and an evocation of the career of William Bullitt, Freud’s collaborator on a study of Woodrow Wilson and America’s ambassador to Paris during the fall of France, this essay offers a reading of both novels and raises the question of American sanctimony and the price France may be expected to pay for it. (shrink)

Although the great French novelists of the last two centuries are widely read in America, there is a widespread notion that little of importance has happened in French literature since the heyday of Sartre, Camus, and the nouveau roman. Curious American readers seeking new, up-to-date information and analyses will find in Paths to Contemporary French Literature a stimulating and much-needed guide to the major currents of one of the worldas great literatures. This critical panorama of contemporary (...) class='Hi'>French literature introduces English-language readers to over fifty important writers and poets. Emphasizing authors who are admired by their peers, John Taylor offers a compelling insideras view. (shrink)

Although the great French novelists of the last two centuries are widely read in America, there is a widespread notion that little of importance has happened in the French literature since the heyday of Sartre, Camus, and the nouveau roman. Some might argue that even well-read Americans are ignorant about what is happening in European literature generally. Certainly, there has never been so few translations of foreign books in the United States, or so little coverage of foreign writers. (...) Curious American readers need new, up-to-date information and analyses about what is happening elsewhere. Paths to Contemporary French Literature is a stimulating and much-needed guide to the major currents of one of the world's great literatures. This critical panorama of contemporary French literature introduces English-language readers to over fifty important writers and poets, many of whom are still little known outside of France. Emphasizing authors who are admired by their peers, John Taylor offers a compelling insider's view. Their pioneering essays included in this book offer incisive analyses of the ideas motivating current writing and delve into a writer's or poet's entire output. Although some names may be familiar, the reader obtains fresh reappraisals of their seminal work. Especially noteworthy, however, are Taylor's lively introductions to many other key writers who either have not yet crossed the English Channel, let alone the Atlantic. Combating the notion that French literature is overtly intellectual, inaccessible, or interested only in formal experimentation, Taylor shows that many French writers are instead acutely inquisitive about the outside world, shrewd observers of reality, even very funny. Although not conceived as a "reference book," the volume possess some qualities of a reference work: a good bibliography, reliable dates and biographical facts. (shrink)

Are the words that a novelist uses adequate to his or her elusive subject&—the human condition? Are they pertinent, accurate, invariably fair, unflinchingly honest? Or do the novelist's words execute essentially formal maneuvers, engaging our interest through their patterns rather than their reach? And what about a possible third, synthesizing option? Robert W. Greene discovers that the two apparently divergent intentions in question (metalinguistic vs. moralistic) often paradoxically coexist in French fiction. Also, no doubt because it is more consistently (...) self-conscious than that of any previous era, the fiction of twentieth-century France seems to illustrate this convergence with special brillance. From L'lmmoralist (1902) to L'Usage de la parole (1980) Greene explores combinations and permutations of moralistic analysis and metalinguistic commentary in a particular sequence of prose narrative. Along the way, he observes Gide, Proust, Malraux, Camus, Duras, and Sarraute, each in his or her own fashion, moving ceaselessly back and forth between soundings of the heart and diagnoses of the tongue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Twentieth-Century French PhilosophyRonald ShustermanTwentieth-Century French Philosophy, by Eric Matthews; 232 pp. New York: Oxford University Press, 1996, $13.95 paper.Pace the habitual proverb, one of the best things about this volume is indeed its cover: a picture of Sartre lighting his pipe, in some Parisian cafe, in the midst of an animated discussion with Simone de Beauvoir and Mr. and Mrs. [End Page 188] Boris Vian. There (...) is an “arty” dimension to French philosophy which has mostly disappeared from English thought since the time of Russell. One could hardly imagine illustrating a history of recent English philosophy with (say) a picture of P. F. Strawson sitting in a bar with some rebellious trumpet-player-cum-novelist. Matthews manages to give the reader an exceptionally clear idea of the thought of those whom he considers to be the most significant French philosophers of our time. Perhaps the selection is too restrictive; some of the major figures who are completely—or almost completely—absent from this volume include Jacques Maritain, Michel Serres, Paul Ricoeur, Vladimir Jankélévitch, and Gilles Deleuze. Matthews’s work, however, is intended as an introduction, so his survey is necessarily light. The justification for the selection is that the essence of twentieth-century French thought involves an emphasis on subjectivity. This emphasis is examined in the work of Bergson who was the first of many to underline the role of the self and the body in our dealings with the world. Direct quotations of the major texts are infrequent; this, however, is probably for the best—or so one feels when one encounters examples such as “Value is the self in so far as the self haunts the heart of the for-itself as that which the for-itself is” (p. 76). Matthews excels at “translating” the ideas of Sartre, Merleau-Ponty, Lacan, Foucault, Derrida and others into an English acceptable to even the most pedestrian ordinary language philosopher.Many readers may, however, be dissatisfied with some of Matthews’s classifications. Structuralism, for example, is represented here by Lacan and Foucault. Matthews correctly underlines Foucault’s “suspicion of a priori theorizing” (p. 149) but one has to remember that many of the great literary structuralists such as Barthes or Genette did base their work on abstract reasoning. In their hands, structuralism was hardly anti-scientific, so for someone coming to philosophy from literary theory, Matthews’s definition and examples are confusing. But perhaps these classifications are not essential to Matthews’s argument about the growth of subjectivity. It is indeed this subjectivity which emerges not only as Matthews’s thesis but as his target as well. He notes in Lacan’s philosophy the “lack of any serious argumentative support” and a “failure to offer empirical evidence for what looks like an empirical account” (p. 147). After a brief discussion of Foucault’s overall project, Matthews concludes that “one may feel a lingering suspicion that it is fatally flawed” (p. 156). This is frustrating and unfair; there is no point mentioning this flaw if one does not go on to work it out. Other philosophers get the same treatment. For example, Matthews argues against Lyotard’s picture of science as discredited: “Society might... find it hard to believe in science any more, without it being true that science was unbelievable” (p. 186). One may agree with Matthews on this point, but all of these rapid end-of-chapter dismissals remain rather superficial.Unfortunately, Matthews rarely builds the necessary bridges to make his study more illuminating. There is a passage on Bergson’s distinction between [End Page 189] “analysis” and “intuition” which is quite close to Russell’s distinction between “knowledge by description” and “knowledge by acquaintance.” Other such bridges could be built between Merleau-Ponty and pragmatism, or Saussure, Lévi-Strauss, and the Sapir-Whorf hypothesis. There is a reason for the absence of these connections: Matthews’s basic premise is that there is something specific about French philosophy; too many obvious bridges to other thinkers would undermine his entire argument. One of Matthews’s goals is to demonstrate that it is “important to the understanding of works of philosophy... (shrink)

Describes how an appeal to a reader's sense of traditional "pity" in the writings of French philosophers, social theorists, and novelists interacted with the interest in studying and promoting the virtue within society.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Skeptical Selves: Empiricism and Modernity in the French NovelDaniel GordonSkeptical Selves: Empiricism and Modernity in the French Novel, by Elena Russo; 225 pp. Stanford: Stanford University Press, 1996, $35.00.Skeptical Selves explains how linguistic relativism has shaped French literature from the Enlightenment to the present. Elena Russo provides three cases: Prévost’s Histoire d’une Grecque moderne (1740), Constant’s Adolphe (1816), and des Forêts’s Le Bavard (1946). Her (...) fascinating scholarly goal is to portray the inexorable decline of the novel in a climate of ever growing doubt about the truthfulness of narration. Her remarkably ambitious philosophical goal is to save the novel by refuting skepticism!More precisely, Russo’s target is not every form of doubt but rather a specific current of French skeptical consciousness. In recent years, the representatives of this current have been Derrida and Blanchot. Its main feature is a denial of the correspondence notion of the language-truth relationship combined—paradoxically—with an intense nostalgia for a perfectly mimetic language that has allegedly been lost. The seemingly most radical critics of the sign, Russo claims, never overcome the perverse yearning for the very mimesis whose possibility they deny (p. 3).Russo is getting at an interesting distinction here, the distinction between epistemological modesty, which she upholds, and French skepticism, which she deplores. Epistemological modesty means the redefinition of truth according to some criterion other than perfect representation of the external world. French skepticism for her means the insistence on an absolute standard of mimetic reliability and a simultaneous denial that this standard can ever be reached. “Much of the language of negativity we have grown accustomed to in contemporary criticism rests upon the following syllogism: to know is to know directly and without mediation; this is not possible; therefore, the world is unknowable. Any conceptualization is ipso facto viewed as suspect, hence the flight towards nonverbal forms of expression, such as music and silence” (p. 13).After suggesting in her first chapter that French skepticism is a specific style of thought, not a final answer to our epistemological queries, Russo goes on to illustrate the impact of this skepticism on the novel. Prévost’s text, she observes, is one of the first novels built around the distorted point of view of a fallible [End Page 179] narrator. The narrator is the French ambassador to Constantinople who falls in love with a woman, Théophé, recently freed from a seraglio. Both his love and his comprehension are frustrated by the woman’s apparent simplicity and virtue. “Signs acquire a meaning opposite to their manifest one,” Russo notes. “It is precisely the discourse that should have made Théophé look credible that makes her appear suspicious. She is cunning and deceptive because she appears ‘naive’ and ‘innocent’; she is opaque because of her ‘simplicity’ and ‘openness’” (p. 42). The whole point of the novel is to show that we are imprisoned in subjectivity and there is no way out. For a time the narrator attempts to resolve his doubts regarding Théophé’s words by concentrating instead on her body. But here as well he can discover only ambiguity: nothing reveals clearly whether she is conquerable and whether she already has another lover.The novel ends with the unexplained death of Théophé, and Russo comments: “we are given the impression that, rather than ending his text, Prévost is ridding himself of an intractable problem” (p. 66). Artfully, the rest of the book helps us see that the tendency to thematize philosophical problems that have no solutions is intensified in the nineteenth and twentieth centuries—to the point where not merely the ending of novels but novels themselves disappear. (Of course, Russo means not that people no longer write novels but that the genre has succeeded in diminishing its own stature by so frequently decrying the limits of language.)The chapter on Constant did not strike me as the strongest part of the book. The problem is due perhaps to the fact that Constant was a truly great thinker, a brilliant political theorist and philosopher of religion as well as a romantic novelist. One chapter does not... (shrink)

This paper introduces a hermeneutical approach to graphic novel representations of punishments inflicted on women accused of collaboration with the German occupant during the French purge in 1944- 1945. Since the study aims to determine to establish links between graphic novels and the evolutions of the historiography of the Occupation and Liberation of France, it includes a historiographical component. Drawing on other cultural medias who have dealt with this theme (novels, movies, poems, songs), the aim is also to identify (...) the meaning given by artists to their portrayals of shorn and assaulted women. The paper eventually introduces a broader philosophical reflection on the emancipation from authoritarianism. It is the study’s contention that graphic novelists are offering a feminist discourse and are using the theme of shorn and assaulted women during the liberation as a reminder of the late emancipation of women from male domination. (shrink)

Thomas Szasz famously argued that mental illness is a myth. Less famously, Szasz argued that since mental illness is a myth, so too is psychotherapy. Szasz’ claim that mental illness is a myth has been much discussed, but much less attention has been paid to his claim that psychotherapy is a myth. In the first part of this essay, I critically examine Szasz’ discussion of psychotherapy in order to uncover the strongest version of his case for thinking that it is (...) a myth. As we’ll see, this involves an understanding of psychotherapeutic interventions as treatments of psychopathological problems. In the rest of this essay, I turn to this directly and argue that psychotherapy has an important non-pathocentric dimension. I argue that we fail to appreciate the nature and variety of psychotherapy if we concentrate only on its pathocentric dimensions. Though I use Szasz as a stalking horse, the substantive topic is the nature of psychotherapy. This enquiry falls into the philosophy of psychotherapy as distinct from the philosophy of psychiatry and the philosophy of psychoanalysis. (shrink)

Two recent texts join the field of research on the Oulipo writing group. The End of Oulipo?: An Attempt to Exhaust a Movement is a slim volume, mostly comprising two essays and a preface. Authors Lauren Elkin and Scott Esposito contribute one essay each, in which they address some of the issues that have arisen with the present-day Oulipo. Cécile De Bary’s Une nouvelle pratique littéraire en France: Histoire du groupe Oulipo de 1960 à nos jours is almost as brief, (...) and assesses the Oulipo in terms of its evolution from experimental workshop to literary group.The Oulipo, or “Ouvoir de littérature potentielle” is now over fifty years old. It was founded in November 1960 by novelist... (shrink)

Steven French articulates and defends the bold claim that there are no objects in the world. He draws on metaphysics and philosophy of science to argue for structural realism--the position that we live in a world of structures--and defends a form of eliminativism about objects that sets laws and symmetry principles at the heart of ontology.

The central concern of this article is whether the semantic approach has the resources to appropriately capture the core tenets of structural realism. Chakravartty (2001) has argued that a realist notion of correspondence cannot be accommodated without introducing a linguistic component, which undermines the approach itself. We suggest that this worry can be addressed by an appropriate understanding of the role of language in this context. The real challenge, however, is how to incorporate the core notion of `explanatory approximate truth' (...) in such a way that the emphasis on structure is retained. (shrink)

Steven French and Decio Krause examine the metaphysical foundations of quantum physics. They draw together historical, logical, and philosophical perspectives on the fundamental nature of quantum particles and offer new insights on a range of important issues. Focusing on the concepts of identity and individuality, the authors explore two alternative metaphysical views; according to one, quantum particles are no different from books, tables, and people in this respect; according to the other, they most certainly are. Each view comes with (...) certain costs attached and after describing their origins in the history of quantum theory, the authors carefully consider whether these costs are worth bearing. Recent contributions to these discussions are analyzed in detail and the authors present their own original perspective on the issues. The final chapter suggests how this perspective can be taken forward in the context of quantum field theory. (shrink)

Thirty years after the conference that gave rise to The Structure of Scientific Theories, there is renewed interest in the nature of theories and models. However, certain crucial issues from thirty years ago are reprised in current discussions; specifically: whether the diversity of models in the science can be captured by some unitary account; and whether the temporal dimension of scientific practice can be represented by such an account. After reviewing recent developments we suggest that these issues can be accommodated (...) within the partial structures formulation of the semantic or model-theoretic approach. (shrink)

Many important explanations in physics are based on ideas and assumptions about symmetries, but little has been said about the nature of such explanations. This chapter aims to fill this lacuna, arguing that various symmetry explanations can be naturally captured in the spirit of the counterfactual-dependence account of Woodward, liberalized from its causal trappings. From the perspective of this account symmetries explain by providing modal information about an explanatory dependence, by showing how the explanandum would have been different, had the (...) facts about an explanatory symmetry been different. Furthermore, the authors argue that such explanatory dependencies need not be causal. (shrink)

The Bloomsbury Companion to the Philosophy of Science presents a practical and up-to-date research resource to the philosophy of science. Addressing fundamental questions asked by discipline - areas that have continued to attract interest historically, as well as recently-emerging areas of research - this volume provides a comprehensive and up-to-date overview of the philosophy of science. Specially-commissioned essays from an international team of experts reveal where important work continues to be done in the area and the exciting new directions the (...) field is taking. The Companion explores issues pertaining to the philosophy of specific sciences (physics, biology, neuroscience, economics, chemistry and mathematics) and general issues in the field, such as explanation, realism, representation, evidence, reduction, laws, causation and confirmation. Featuring a series of indispensable research tools, including an A to Z of key terms and concepts, a chronology, a detailed list of resources and a fully annotated bibliography, The Bloomsbury Companion to the Philosophy of Science the essential reference tool for anyone working in philosophy of science today. (shrink)

Discovery -- Heuristics -- Explanation -- Justification -- Observation -- Experiment -- Realism -- Anti-realism -- Independence -- Gender bias -- Summary and further readings.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Skeptical Selves: Empiricism and Modernity in the French NovelDaniel GordonSkeptical Selves: Empiricism and Modernity in the French Novel, by Elena Russo; 225 pp. Stanford: Stanford University Press, 1996, $35.00.Skeptical Selves explains how linguistic relativism has shaped French literature from the Enlightenment to the present. Elena Russo provides three cases: Prévost’s Histoire d’une Grecque moderne (1740), Constant’s Adolphe (1816), and des Forêts’s Le Bavard (1946). Her (...) fascinating scholarly goal is to portray the inexorable decline of the novel in a climate of ever growing doubt about the truthfulness of narration. Her remarkably ambitious philosophical goal is to save the novel by refuting skepticism!More precisely, Russo’s target is not every form of doubt but rather a specific current of French skeptical consciousness. In recent years, the representatives of this current have been Derrida and Blanchot. Its main feature is a denial of the correspondence notion of the language-truth relationship combined—paradoxically—with an intense nostalgia for a perfectly mimetic language that has allegedly been lost. The seemingly most radical critics of the sign, Russo claims, never overcome the perverse yearning for the very mimesis whose possibility they deny (p. 3).Russo is getting at an interesting distinction here, the distinction between epistemological modesty, which she upholds, and French skepticism, which she deplores. Epistemological modesty means the redefinition of truth according to some criterion other than perfect representation of the external world. French skepticism for her means the insistence on an absolute standard of mimetic reliability and a simultaneous denial that this standard can ever be reached. “Much of the language of negativity we have grown accustomed to in contemporary criticism rests upon the following syllogism: to know is to know directly and without mediation; this is not possible; therefore, the world is unknowable. Any conceptualization is ipso facto viewed as suspect, hence the flight towards nonverbal forms of expression, such as music and silence” (p. 13).After suggesting in her first chapter that French skepticism is a specific style of thought, not a final answer to our epistemological queries, Russo goes on to illustrate the impact of this skepticism on the novel. Prévost’s text, she observes, is one of the first novels built around the distorted point of view of a fallible [End Page 179] narrator. The narrator is the French ambassador to Constantinople who falls in love with a woman, Théophé, recently freed from a seraglio. Both his love and his comprehension are frustrated by the woman’s apparent simplicity and virtue. “Signs acquire a meaning opposite to their manifest one,” Russo notes. “It is precisely the discourse that should have made Théophé look credible that makes her appear suspicious. She is cunning and deceptive because she appears ‘naive’ and ‘innocent’; she is opaque because of her ‘simplicity’ and ‘openness’” (p. 42). The whole point of the novel is to show that we are imprisoned in subjectivity and there is no way out. For a time the narrator attempts to resolve his doubts regarding Théophé’s words by concentrating instead on her body. But here as well he can discover only ambiguity: nothing reveals clearly whether she is conquerable and whether she already has another lover.The novel ends with the unexplained death of Théophé, and Russo comments: “we are given the impression that, rather than ending his text, Prévost is ridding himself of an intractable problem” (p. 66). Artfully, the rest of the book helps us see that the tendency to thematize philosophical problems that have no solutions is intensified in the nineteenth and twentieth centuries—to the point where not merely the ending of novels but novels themselves disappear. (Of course, Russo means not that people no longer write novels but that the genre has succeeded in diminishing its own stature by so frequently decrying the limits of language.)The chapter on Constant did not strike me as the strongest part of the book. The problem is due perhaps to the fact that Constant was a truly great thinker, a brilliant political theorist and philosopher of religion as well as a romantic novelist. One chapter does not... (shrink)

Many contemporary theorists charge that naïve realists are incapable of accounting for illusions. Various sophisticated proposals have been ventured to meet this charge. Here, we take a different approach and dispute whether the naïve realist owes any distinctive account of illusion. To this end, we begin with a simple, naïve account of veridical perception. We then examine the case that this account cannot be extended to illusions. By reconstructing an explicit version of this argument, we show that it depends critically (...) on the contention that perceptual experience is diaphanous, or more minimally and precisely, that there can be no difference in phenomenal properties between two experiences without a difference in the scenes presented in those experiences. Finding no good reason to accept this claim, we develop and defend a simple, naïve account of both veridical perception and illusion, here dubbed Simple, Austere Naïve Realism. (shrink)

The semantic, or model-theoretic, approach to theories has recently come under criticism on two fronts: (i) it is claimed that it cannot account for the wide diversity of models employed in scientific practice—a claim which has led some to propose a “deflationary” account of models; (ii) it is further contended that the sense of “model” used by the approach differs from that given in model theory. Our aim in the present work is to articulate a possible response to these claims, (...) drawing on recent developments within the semantic approach itself. Thus, the first is answered by utilizing the notion of a “partial structure”, first introduced in this context by da Costa and French in 1990. The second claim is undermined by consideration of van Fraassen's understanding of “model” which corresponds well with that evinced by modem mathematicians. This latter discussion, in particular, has an impact on the continuing debate regarding the relative merits of the semantic and syntactic views and the developments presented here can be taken to provide further support to the former. (shrink)

Department of History and Philosophy of Science. University of Cambridge, Free School Lane, Cambridge CB2 3RH This paper is concerned with the question of whether atomic particles of the same species, i. e. with the same intrinsic state-independent properties of mass, spin, electric charge, etc, violate the Leibnizian Principle of the Identity of Indiscernibles, in the sense that, while there is more than one of them, their state-dependent properties may also all be the same. The answer depends on what exactly (...) the state-dependent properties of atomic particles are taken to be. On the plausible interpretation that these should comprise all monadic and relational properties that can be expressed in terms of physical magnitudes associated with self-adjoint operators that can be defined for the individual particles, then the weakest form of the Principle is shown to be violated for bosons, fermions and higher-order paraparticles, treated in first quantization *Some of the arguments inn this paper appeared in a thesis submited by one of us (S.F.) In partial fulfilment of the requirements for the PhD degree of the University of London, in 1984. entitled 'Identity and ‘Individuality in Classical and Quantum Physics’. (shrink)

Visual experiences seem to exhibit phenomenological particularity: when you look at some object, it – that particular object – looks some way to you. But experiences exhibit generality too: when you look at a distinct but qualitatively identical object, things seem the same to you as they did in seeing the first object. Naïve realist accounts of visual experience have often been thought to have a problem with each of these observations. It has been claimed that naïve realist views cannot (...) account for the generality of visual experiences, and that the naïve realist explanation of particularity has unacceptable implications for self- knowledge: the knowledge we have of the character of our own experiences. We argue in this paper that neither claim is correct: naïve realism can explain the generality of experiences, and the naïve realist explanation of particularity raises no problems for our self-knowledge. (shrink)

What is a scientific theory? This book considers this fundamental question by presenting a range of options and the issues they raise. It draws comparisons between theories and artworks and proposes that we should stop thinking of theories as things altogether.

he relationship between metaphysics and science has recently become the focus of increased attention. Ladyman and Ross, in particular, have accused even naturalistically inclined metaphysicians of pursuing little more than the philosophy of A-level chemistry and have suggested that analytic metaphysics should simply be discontinued. In contrast, we shall argue, first of all, that even metaphysics that is disengaged from modern science may offer a set of resources that can be appropriated by philosophers of physics in order to set physics (...) within an interpretational framework. Secondly, however, we shall urge that insofar as metaphysics is intended to be more than just a toolbox it needs to accommodate the implications of physics if many of its core claims are to be sustained. We shall illustrate this last point with a discussion of the nature of laws and modality in the context of modern physics. (shrink)

Scientific results are often presented as ‘surprising’ as if that is a good thing. Is it? And if so, why? What is the value of surprise in science? Discussions of surprise in science have been limited, but surprise has been used as a way of defending the epistemic privilege of experiments over simulations. The argument is that while experiments can ‘confound’, simulations can merely surprise (Morgan, 2005). Our aim in this paper is to show that the discussion of surprise can (...) be usefully extended to thought experiments and theoretical derivations. We argue that in focusing on these features of scientific practice, we can see that the surprise-confoundment distinction does not fully capture surprise in science. We set out how thought experiments and theoretical derivations can bring about surprises that can be disruptive in a productive way, and we end by exploring how this links with their future fertility. (shrink)

Naive realists hold that experience is to be understood in terms of an intimate perceptual relation between a subject and aspects of the world, relative to a certain standpoint. Those aspects of the world themselves shape the contours of consciousness. But blurriness is an aspect of some of our experiences that does not seem to come from the world. I argue that this constitutes a significant challenge to some forms of naive realism. But I also argue that there is a (...) robust form of naive realism which is unfazed by the blurriness of some of our experiences, even when that blurriness is understood as a subjective modification of consciousness. (shrink)

According to 'Ontic Structural Realism' (OSR), physical objects—qua metaphysical entities—should be reconceptualised, or, more strongly, eliminated in favour of the relevant structures. In this paper I shall attempt to articulate the relationship between these putative objects and structures in terms of certain accounts of metaphysical dependence currently available. This will allow me to articulate the differences between the different forms of OSR and to argue in favour of the 'eliminativist' version. A useful context is provided by Floridi's account of the (...) relationship between 'ontic' and 'epistemic' structural realisms and I shall conclude with some brief remarks on possible extensions of OSR into other scientific domains. (shrink)

I argue that we should question the orthodox way of thinking about epistemological disjunctivism. I suggest that we can formulate epistemological disjunctivism in terms of states of seeing things as opposed to states of seeing that p. Not only does this alternative formulation capture the core aspects of epistemological disjunctivism as standardly formulated, it has two salient advantages. First, it avoids a crucial problem that arises for a standard formulation of epistemological disjunctivism—the basis problem. And second, it is less committed (...) than standard formulations are in the metaphysics of perception. (shrink)

Although much of its history has been neglected or misunderstood, a structuralist 'tendency' has re-emerged within the philosophy of science. Broadly speaking, it consists of two fundamental strands: on the one hand, there is the identification of structural commonalities between theories; on the other, there is the metaphysical decomposition of objects in structural terms. Both have been pressed into service for the realist cause: the former has been identified primarily with Worrall's 'epistemic' structural realism; the latter with Ladyman's 'ontic' form. (...) And both raise important issues of general interest within the philosophy of science and metaphysics, respectively. The former invites questions regarding the identification and appropriate representation of these commonalities; the latter touches on different views regarding the nature of objects, the constitutive role of properties and the seat of causal powers. Both strands have recently come under critical fire. It is my intention to present a unified account of the 'structuralist tendency' which emphasizes the dual roles of structure as representational and constitutive, and to indicate how the more acute critical remarks can be dealt with. (shrink)