'The men of culture are the true apostles of equality.' Matthew Arnold's famous series of essays, which were first published in book form under the title Culture and Anarchy in 1869, debate important questions about the nature of culture and society that are as relevant now as they have ever been. Arnold seeks to find out 'what culture really is, what good it can do, what is our own special need of it' in an age of rapid social (...) change and increasing mechanization. He contrasts culture, 'the study of perfection', with anarchy, the mood of unrest and uncertainty that pervaded mid-Victorian England. How can individuals be educated, not indoctrinated, and what is the role of the state in disseminating 'sweetness and light'? This edition reproduces the original book version and enables readers to appreciate its immediate historical context as well as the reasons for its continued importance today, in the face of the challenges of multi-culturalism and post-modernism. 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)

Brought about through philosophical analysis – a first in the history of art – paradigm shifts in the ontology and epistemology of sculpture are described, motivated, and exemplified with pieces they inspired. Navigating the new aesthetic environment requires an ‘escape from Plato's Cave’ by means of a kind of phenomenological reduction. The new conceptual foundation allows artists unprecedented levels of freedom to explore and innovate, connects sculpture to music, and has the potential to enhance significantly the appreciation of art and (...) its impact on contemporary culture. The algorithmic nature of my paradigms shows that art and science have more in common than previously thought. (shrink)

Baruch (Benedict de) Spinoza was born in Amsterdam in 1632. He belonged to the emigrant Jewish community. He was much influenced by the writings of Descartes. His unorthodox views led him to be excommunicated by the Jewish authorities in 1656. In the following years he devoted himself to his philosophical writings. He derived a modest income from grinding optical lenses. In 1673 he refused an invitation to become professor of philosophy at Heidelberg. Spinoza died at The Hague from consumption in (...) 1677. (shrink)

In a recent article in this journal, Roberts suggests a semantic method for distinguishing ambiguity and generality, a method which is intended to avoid the problems that others such as Zwicky and Sadock, Hintikka, and McCawley have found in making such a decision. Roberts claims that his test derives its validity from the observation that an ambiguous expression has a disjunction of meanings, whereas a general expression has but one meaning.

The logic of singular terms that refer to nothing, such as ‘Santa Claus,’ has been studied extensively under the heading of free logic. The present essay examines expressions whose reference is defective in a different way: they signify more than one entity. The bulk of the effort aims to develop an acceptable formal semantics based upon an intuitive idea introduced informally by Hartry Field and discussed by Joseph Camp; the basic strategy is to use supervaluations. This idea, as it stands, (...) encounters difficulties, but with suitable refinements it can be salvaged. Two other options for a formal semantics of multiply signifying terms are also presented, and I discuss the relative merits of the three semantics briefly. Finally, possible modifications to the standard logical regimentation of the notion of existence are considered. (shrink)

In a recent article in this journal, Roberts suggests a semantic method for distinguishing ambiguity and generality, a method which is intended to avoid the problems that others such as Zwicky and Sadock, Hintikka, and McCawley have found in making such a decision. Roberts claims that his test derives its validity from the observation that an ambiguous expression has a disjunction of meanings, whereas a general expression has but one meaning.

Originally published in 1937, this book provides a detailed discussion of the nature of Christian faith and belief in its relationship with the concept of redemption.

The question that this paper sets out to answer is: How do political processes within the firm structure corporate political strategy? In answering this question thepaper starts to address the research problem of the congruence between processes of consensus building and conflict resolution within the firm and on the other hand corporate attempts to influence political processes taking place outside the firm. The paper argues that power-dependence relations between firm-internal stakeholders are an explanatory factor in examining empirical variation in corporate (...) political behavior. (shrink)

Even if we recognize that the delta-lognormal model provides an excellent fit to a large variety of data, the question remains as to what we actually learn from such a model, which could be seen as merely another multiparameter account? Do we welcome such an encompassing account, or do we expect to learn more from the limitations that become apparent when applying dedicated models addressing specific classes of movements?

The parametric general systems theory is an adequate method of research in universalism. The article focuses on this theory and its formal apparatus—ternary description language. It shows the advantages of researching universalistic problems through the use of the systems method. Parametric systems theory can be helpful to universalism in acquiring the characteristics of a relatively rigorous scientific conception.

_Roman Stoicism_, first published in 1911, offers an authoritative introduction to this fascinating chapter in the history of Western philosophy, which throughout the 20 th century has been rediscovered and rehabilitated among philosophers, theologians and intellectual historians. Stoicism played a significant part in Roman history via the public figures who were its adherents ; and, as it became more widely accepted, it assumed the features of a religion. The Stoic approach to physics, the universe, divine providence, ethics, law and humanity (...) are all investigated, as is its diffuse impact upon literature. The origins of Christianity are also examined. Arnold offers a sympathetic reading of St. Paul in light of Stoicism, and regards the latter as the crucial bridge between Antiquity and Christendom: it allowed a swathe of Pagan intellectuals to join the Church and influenced the development of Christian doctrine, thus making an immense contribution to the bedrock of modern European civilisation. (shrink)

This book introduces American readers to a philosophical and spiritual exemplar of dialogue. The author presents a way of thinking about ourselves, the world, and our relationship to God that is neither dualistic nor monistic. The thinkers presented in this book focus on a radical departure from objectivism and subjectivism. Kierkegaard, Feuerbach, Herman Cohen, Ferdinand Ebner, Eugen Rosenstock, Franz Rosenzweig, and Martin Buber were all trying to find a way to allow a transaction between self, the world, and God without (...) foregoing either individuality or the experience of merging. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious (...) means in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)