本文旨在初步探索「限肉令」作為應對傳染病大流行和由工廠化畜牧業帶來的其他威脅的預防措施的正當性。「限肉令」並非指全面禁肉，而是以法律限制市民的人均肉品消耗量在滿足基本營養需求的範圍內。本文採用的進路是 緩解一些可能阻礙對此提案進行更宏觀、理性的思考的潛在心理拘繫。此進路參考了傅柯「日常經驗」(everyday experience) 的分析，和佛家倫理學回應全球環境倫理問題的策略。我們先以香港社會為主要案例研究，檢視形成「肉是必需的」一想法和嗜肉情結的社會模式。接著我們引入葷食心理學研究，討論嗜肉情結如何成為正面考慮「限肉令」的障 礙。我們也嘗試回應一些反對此提案的理由，包括來自自由主義 (Liberalism)的批評。 -/- This article explores the preliminary justifiability of meat restriction order as a preventive measure to the risks of pandemic and other forms of harm posed by factory farming. A meat restriction order seeks to limit citizens’ meat consumption at the level of meeting individuals’ basic nutrient needs. This article aims to loosen some potential psychological hooks that prevent a more expansive, rational deliberation of the proposal. Inspired by Michel Foucault’s analysis of “everyday experience” and the (...) Buddhist responses to global environmental issues, we investigate the social patterns that account for the formation of people’s meat commitment, using Hong Kong society as a major case study. With reference to scientific studies of meat-eaters’ psychology, we discuss how the meat commitment becomes a barrier for society to positively consider the justifiability of the proposal. We will also address a number of objections to our proposal, including those from liberalism. (shrink)

The proposed multilevel framework of discourse comprehension includes the surface code, the textbase, the situation model, the genre and rhetorical structure, and the pragmatic communication level. We describe these five levels when comprehension succeeds and also when there are communication misalignments and comprehension breakdowns. A computer tool has been developed, called Coh-Metrix, that scales discourse (oral or print) on dozens of measures associated with the first four discourse levels. The measurement of these levels with an automated tool helps researchers track (...) and better understand multilevel discourse comprehension. Two sets of analyses illustrate the utility of Coh-Metrix in discourse theory and educational practice. First, Coh-Metrix was used to measure the cohesion of the text base and situation model, as well as potential extraneous variables, in a sample of published studies that manipulated text cohesion. This analysis helped us better understand what was precisely manipulated in these studies and the implications for discourse comprehension mechanisms. Second, Coh-Metrix analyses are reported for samples of narrative and science texts in order to advance the argument that traditional text difficulty measures are limited because they fail to accommodate most of the levels of the multilevel discourse comprehension framework. (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and (...) humanist discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, _What Art Is _challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the (...) viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in _The Republic_, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production. (shrink)

Few philosophers are as widely read or as widely misunderstood as Friedrich Nietzsche. When Danto's classic study was first published in 1965, many regarded Nietzsche as a brilliant but somewhat erratic thinker. Danto, however, presented a radically different picture, arguing that Nietzsche offered a systematic and coherent philosophy that anticipated many of the questions that define contemporary philosophy. Danto's clear and insightful commentaries helped canonize Nietzsche as a philosopher and continue to illuminate subtleties in Nietzsche's work as well as his (...) immense contributions to the philosophies of science, language, and logic. This new edition, which includes five additional essays, not only further enhances our understanding of Nietzsche's philosophy; it responds to the misunderstandings that continue to muddy his intellectual reputation. Even today, Nietzsche is seen as everything from a precursor of feminism and deconstruction to a prophetic writer and spokesperson for disgruntled teenage boys. As Danto points out in his preface, Nietzsche's writings have purportedly inspired recent acts of violence and school shootings. Danto counters these misreadings by elaborating an anti-Nietzschian philosophy from within Nietzsche's own philosophy "in the hope of disarming the rabid Nietzsche and neutralizing the vivid frightening images that have inspired sociopaths for over a century." The essays also consider specific works by Nietzsche, including _Human, All Too Human_ and _The Genealogy of Morals_, as well as the philosopher's artistic metaphysics and semantical nihilism. (shrink)

This essay constructs philosophical defenses against criticisms of my theory of the end of art. These have to do with the definition of art; the concept of artistic quality; the role of aesthetics; the relationship between philosophy and art; how to answer the question "But is it art?"; the difference between the end of art and "the death of painting"; historical imagination and the future; the method of using indiscernible counterparts, like Warhol's Brillo Box and the Brillo cartons it resembles; (...) the logic of imitation-and the differences between Hegel's views on the end of art and mine. These defenses amplify and fortify the thesis of the end of art as set forth in my After the End of Art: Contemporary Art and the Pale of History (1997). (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and (...) humanist discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

_A lively meditation on the nature of art by one of America's most celebrated art critics_ What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, _What Art Is _challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined (...) by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in _The Republic_, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production. (shrink)

This essay constructs philosophical defenses against criticisms of my theory of the end of art. These have to do with the definition of art; the concept of artistic quality; the role of aesthetics; the relationship between philosophy and art; how to answer the question “But is it art?”; the difference between the end of art and “the death of painting”; historical imagination and the future; the method of using indiscernible counterparts, like Warhol's Brillo Box and the Brillo cartons it resembles; (...) the logic of imitation—and the differences between Hegel's views on the end of art and mine. These defenses amplify and fortify the thesis of the end of art as set forth in my After the End of Art: Contemporary Art and the Pale of History. (shrink)

One of the most extensive yet least conclusive methodological debates within religious studies revolves around the question of what, precisely, the phenomenology of religion is and what contribution it can make to the study of religion. I do not intend to answer this important question here. To do so satisfactorily would require a range of historical, philosophical and methodological inquiry which would go quite beyond the bounds of a single article. My intention in this paper is, by comparison, unambitious. It (...) is to take one view of what phenomenology of religion is and to consider an area outside that usually explored by students of religion which can, nonetheless, shed some light on how religions might be studied in a way which is in accordance with the phenomenology of religion so understood. What follows will offer an answer to the question of what contribution one particular understanding of phenomenology might make to the study of religion, but no attempt will be made to establish whether or not this particular understanding ought to be regarded as normative. (shrink)

Those rights are human rights which, in Professor Gewirth's phrase, “all persons equally have simply insofar as they are human.” His task is to demonstrate that there are human rights, and to demonstrate that such demonstration is necessary to the very existence of these rights. “That human rights exist…is a proposition whose truth depends upon the possibility, in principle, of constructing a body of moral justificatory argument from which that proposition follows as a logical consequence.” As philosophers we should no (...) doubt like to be able to prove the existence of human rights – prove that there are such rights in the event that the fool shall have said in his heart that there are none, even using his folly against him by showing his denial to entail its denial – but it is a bold claim that rights are things whose esse est demonstrari. (shrink)

From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Their discussions ranged widely over a vast range of topics, from American pop art and minimalism to abstraction and appropriationism. Yet they continually returned to the concepts at the core of Danto’s thinking—posthistory and the end of aesthetics—provocative notions that to this day shape questions about the meaning and (...) future of contemporary art. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto’s ideas. It offers readers the opportunity to experience the intellectual excitement of Danto in person, speculating in a freewheeling yet erudite style. Danto and Paparoni discuss figures such as Andy Warhol, Marcel Duchamp, Franz Kline, Sean Scully, Clement Greenberg, Cindy Sherman, and Wang Guangyi, offering both insightful comments on individual works and sweeping observations about wider issues. On occasion, the artist Mimmo Paladino and the philosopher Mario Perniola join the conversation, enlivening the discussion and adding their own perspectives. The book also features an introductory essay by Paparoni that provides lucid analysis of Danto’s thinking, emphasizing where the two disagree as well as what they learned from each other. (shrink)

Few philosophers are as widely read or as widely misunderstood as Friedrich Nietzsche. When Danto's classic study was first published in 1965, many regarded Nietzsche as a brilliant but somewhat erratic thinker. Danto, however, presented a radically different picture, arguing that Nietzsche offered a systematic and coherent philosophy that anticipated many of the questions that define contemporary philosophy. Danto's clear and insightful commentaries helped canonize Nietzsche as a philosopher and continue to illuminate subtleties in Nietzsche's work as well as his (...) immense contributions to the philosophies of science, language, and logic. This new edition, which includes five additional essays, not only further enhances our understanding of Nietzsche's philosophy; it responds to the misunderstandings that continue to muddy his intellectual reputation. Even today, Nietzsche is seen as everything from a precursor of feminism and deconstruction to a prophetic writer and spokesperson for disgruntled teenage boys. As Danto points out in his preface, Nietzsche's writings have purportedly inspired recent acts of violence and school shootings. Danto counters these misreadings by elaborating an anti-Nietzschian philosophy from within Nietzsche's own philosophy "in the hope of disarming the rabid Nietzsche and neutralizing the vivid frightening images that have inspired sociopaths for over a century." The essays also consider specific works by Nietzsche, including _Human, All Too Human_ and _The Genealogy of Morals_, as well as the philosopher's artistic metaphysics and semantical nihilism. (shrink)

Hegel has identified what I have preemptively designated a third aesthetic realm--in addition to natural beauty and artistic beauty--one greatly connected with human life . . . art applied to the enhancement of life . . . But the other border of what I shall designate the Third Realm is equally non-exclusionary, especially when we consider what Hegel singles out under the head of beautiful people--the kind of beauty possessed by Helen of Troy, say, which we must suppose a wonder (...) of nature. But Helen's choice of hairstyles, makeup, or garments would have belonged to the Third Realm, since it would have been chosen for enhancement, like the setting of a jewel. (shrink)

The Materialist who interests me is the one who identifies such things as thoughts with what he speaks of with a degree of grand unspecificity [[sic]] infuriating to the physiologist as "brain processes" or "brain-states." The casual vagueness with which he invokes the brain happens not to affect the logic of his position, and it will prove more useful than to confront him with a physiologist demanding details to face him instead with a philosophical opponent, even if we must resurrect (...) one for the purpose. Let us, then, summon an Idealist from the shadows. His view, expressed equally grosso modo, is that all brain-states are thoughts. As the "is" of either position is the one of identity, the positions sound at this stage dangerously like mere commutations of one another, so in order to forestall the ignominy of saying the same thing while meaning to sound different, the opponents make sly countermoves. The Materialist says that there are brain-states—or even more unspecifically, that there are "material objects"—which are not thoughts ; and the Idealist, that there are thoughts which are not brain-states. These detrivialize [[sic]] the contest, but they equally disguise the contest’s comical ambiguities. It will appear upon analysis of the main strategies of logical offense that these traditional antagonists have been addressing themselves to different matters all along, and are saying different but quite compatible things. My chief reason for exhuming the contest is to illuminate features of Materialism which hardly can be discerned in the context of current preoccupation with predicates and language-games. Allowing myself the privileges of gross discourse which I have accorded my contestants, I shall say: the Idealist has been speaking of the content of thought, the Materialist about thoughts themselves. Let us now aim for a fraction of precision. (shrink)

Since 1984, when he became art critic for _The Nation_, Arthur C. Danto, one of America's most inventive and influential philosophers, has also emerged as one of our most important critics of art. As an essayist, Danto's style is at once rigorous, incisive, and playful. _Encounters and Reflections_ brings together many of his recent critical writings—on artists such as Andy Warhol, David Hockney, and Robert Mapplethorpe; and on the significance of issues like the masterpiece and the museum. The result (...) is a spirited brief from the front lines of current aesthetic and philosophical debate. (shrink)

[ES] Este famoso ensayo de Arthur Danto, que se presenta aquí traducido al español, fue el primer desarrollo de su concepto de «mundo del arte» como un marco contextual que da sentido, por medio de sus usos teóricos-lingüísticos, a toda forma de arte reconocible en el mundo. Este concepto tendría una influencia enorme en todo el mundo, y fue la base de todo el pensamiento posterior de Danto acerca del arte, y su principal herramienta filosófica para vender en todas (...) partes la idea de que las obras de Andy Warhol no sólo eran legítimas obras de arte, sino incluso, obras importantes de arte. [EN] This famous essay by Arthur Danto, presented here entirely translated into Spanish, was the first development of his concept of “art world” as a contextual framework that gives meaning, through its theoretical-linguistic uses, to all forms of recognizable art in the world. This concept would have a huge influence around the world, and was the basis of all subsequent Danto’s thought about art, and his main philosophical tool to sell everywhere the idea that the works of Andy Warhol were not only legitimate works of art, but even important works of art. (shrink)

This contribution to the debate over Marx's theory of value gives an account of his concept of ?abstract labour?. Contrary to Stanley Moore {Inquiry, Vol. 14 [1971]), Marx never abandons his early critique of the Hegelian ?Concept'; for he gives a material basis to the conception of social labour as concretely universal. If, in analysing the commodity form of the product of labour, Marx characterizes the labour that forms the substance of value as ?abstractly universal labour?, the priority of the (...) abstract over the concrete at this point is not due to the influence of Hegel's Logic on Marx's work, but reflects the material process of abstraction occurring in commodity exchange. We show that Marx takes up a critical stance to this reality. (shrink)

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact -- especially the essay "The End of Art," which dramatically announced that art ended in the 1960s -- this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's (...) ideas, _The Philosophical Disenfranchisement of Art_ continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians. (shrink)

The author extends the conclusions of his book "Mysticism and Morality" in light of criticisms by Proudfoot and Wainwright. Against Proudfoot, he argues that the form of any "morality" derivable from mystical insights is so idiosyncratic that it renders meaningless the categories by which we classify morality. Against Wainwright, he appeals to the way in which a mystical insight would penetrate the remainder of one's experience and transfigure it in ways that have moral connotations.

Karl Marx (1818–1883) was born in Trèves in the Rhineland. He studied law in Bonn, philosophy and history in Berlin, and received a doctorate from the University of Jena for a thesis on Epicurus (341–270 BC). (Epicurus' philosophy was a reaction against the ‘other-worldliness’ of Plato's theory of Forms. Whereas for Plato knowledge was of intelligible Forms, and the criterion of the truth of a hypothesis about the definition of a Form was that it should survive a Socratic testing by (...) question and answer, for Epicurus the criterion of truth was sensation, and employment of this criterion favoured the theory with which Plato explicitly contrasted the theory of Forms (Sophist 246a–d), namely, the materialism of the atomists, Leucippus and Democritus.) Marx was editor of the Rheinische Zeitung of Cologne, 1842–1843. The paper was suppressed and he moved to Paris, becoming co-editor of the Deutsch-französische Jahrbücher, the one and only issue of which contained two articles by Marx and two by his friend, Friedrich Engels (1829–1895). Together they wrote The German Ideology (1846) and their most influential work, The Communist Manifesto (1848). Marx had been expelled from France in 1845, and went to Brussels, from where he was expelled during the 1848 revolutions. He went to Cologne to start, with Engels and others, a paper with a revolutionary editorial policy, the Neue Rheinische Zeitung. Expelled once again, Marx finally settled in London, working in the British Museum on his great historical analysis of capitalism, Das Kapital. The first volume was published in 1867, the remaining two volumes, completed by Engels after Marx's death, in 1885 and 1895. (shrink)

A conversation between the artist Mimmo Paladino, the philosopher and art critic Arthur C. Danto and the curator Demetrio Paparoni on topics such as beauty, icons, projectuality in art, history of art and its supposed end - the main thread being, obviously, Paladino’s entire corpus.

Block’s, 5–43 1981) anti-behaviourist attack of the Turing Test not only illustrates that the test is a non-sufficient criterion for attributing thought; I suggest that it also exemplifies the limiting case of the more general concern that a machine which has access to enormous amounts of data can pass the Turing Test by simple symbol-manipulation techniques. If the answers to a human interrogator are entailed by the machines’ data, the Turing Test offers no clear criterion to distinguish between a thinking (...) machine and a machine that merely manipulates representations of words and sentences as it is found in contemporary Natural Language Processing models. This paper argues that properties about vagueness are accessible to any human-like thinker but do not normally display themselves in ordinary language use. Therefore, a machine that merely performs simple symbol manipulation from large amounts of previously acquired data – where this body of data does not contain facts about vagueness – will not be able to report on these properties. Conversely, a machine that has the capacity to think would be able to report on these properties. I argue that we can exploit this fact to establish a sufficient criterion of thought. The criterion is a specification of some of the questions that, as I explain, should be asked by the interrogator in a Turing Test situation. (shrink)

The article retraces Mimmo Paladino’s entire artistic path and tries to identify a characterising trait, although in the innumerable variations of a work that is pluristylistic by its very nature. This trait seems to be “a spirit of South”, the echo of the culture of the Italian South which can be found both in sculptures and paintings that Paladino creates starting from the Eighties.

In this essay we expand the notion of thinking by emphasizing the provocation and urgency to think and by reconceptualizing thinking as an embodied practice. The aim is to expand Lipman and Sharp’s approach to philosophical inquiry with children and show how other ways of thinking can be included. We strive to unfold a way of “thinking” that is both different from rationality (critical thinking) as well as from creative and caring thinking. In the first part of the paper, we (...) discuss the merits of Lipman and Sharp’s critical, creative and caring thinking within the Community of Philosophical Inquiry (CPI). We then expand Lipman/Sharp’s philosophical method through Ekkehart Marten’s Five-finger Model, which allows for different philosophical approaches. In the second half of the paper, we draw on Martin Heidegger’s What is called thinking? to develop his concept of the “call” to think together with its related notions of provocation and urgency. Building on this, we draw on Maurice Merleau-Ponty to show how this call is not an intellectual activity or mere exercise of the “mind” but rather affects our entire existence. As such, thinking becomes a response to an existential urgency that is an embodied practice. Using concepts like embodiment, affect, and sensibility, we try to widen our conception of thinking in a CPI. Finally, we hope this will allow facilitators to hear the unique voice of every child so that no one is left unheard. (shrink)

Objectives Disclosures of funding sources and conflicts of interests (COI) in published peer-reviewed journal articles have recently begun to receive some attention, but many critical questions remain, for example, how often such reporting occurs concerning research conducted in the developing world and what factors may be involved. Design Of all articles indexed in Medline reporting on human subject HIV research in 2007 conducted in four countries (India, Thailand, Nigeria and Uganda), this study explored how many disclosed a funding source and (...) COI, and what factors are involved. Results Of 221 articles that met the criteria, 67.9% (150) disclosed the presence or absence of a funding source, but only 20% (44) disclosed COI. Studies from Uganda were more likely, and those from Nigeria were less likely to mention a funding source (p<0.001). Of articles in journals that had adopted International Committee of Medical Journal Editors (ICMJE) guidelines, 56% did not disclose COI. Disclosure of funding was more likely when: ≥50% of the authors and the corresponding author were from the sponsoring country, the sponsor country was the USA, and the articles were published in journals in which more of the editors were from the sponsoring countries. Conclusions Of the published studies examined, over a third did not disclose funding source (ie, whether or not there was a funding source) and 80% did not disclose whether COI existed. Most articles in ICMJE-affiliated journals did not disclose COI. These data suggest the need to consider alteration of policies to require that published articles include funding and COI information, to allow readers to assess articles as fully as possible. (shrink)

Les décisions politiques sur les risques environnementaux complexes font fréquemment intervenir des éléments scientifiques contestés. Il n’y a généralement pas de « faits » qui conduisent à une politique correcte unique. Les éléments de preuve qui sont intégrés dans les avis scientifiques destinés à une décision politique nécessitent une évaluation de leur qualité. En 2003, l’Agence néerlandaise d’évaluation environnementale a adopté une méthode standardisée, désignée sous le nom de « guide », dans le cadre de laquelle les principaux aspects de (...) la production et de l’utilisation des connaissances sont présentés grâce à une liste de contrôle visant à l’évaluation et à la communication des incertitudes. Dans cet article, nous présentons des résultats de l’application de ce guide à la controverse sur les risques des particules en suspension. La délibération active sur l’incertitude dans un contexte d’expertise entraîne un processus d’apprentissage commun entre les experts et les décideurs politiques, ce qui conduit à une meilleure prise de conscience du phénomène d’incertitude et de ses implications politiques.Policy decisions on complex environmental risks often involve disputed science. Typically, there are no “ facts” to support a single unequivocally correct policy. The evidence provided in scientific studies for policy-making decisions requires high-quality assessment. In 2003, the Netherlands Environmental Assessment Agency adopted a standardized method, referred to as “guidelines”, whereby key quality aspects of knowledge production and use are presented in the form of a checklist for uncertainty assessments and communication. In this article, we present the outcomes of applying the guidelines in controversies on the risks of ambient particulate matter. In the policy–advisory context, active deliberation on uncertainty produces a common learning process for advisors and policy makers, which leads to a deeper understanding and increased awareness of the phenomenon of uncertainty and its policy implications. (shrink)

I do not for a moment question the fact that many people have experiences of a special type which may be termed “religious”, The extent to which religious experience may be regarded as a reasonably common phenomenon in present-day Britain is shown clearly by David Hay in his Exploring Inner Space, Harmondsworth 1982. that such experiences often involve reference to something which appears to display a radical unlikeness to all else and that they are therefore in some sense inexpressible. Doubtless (...) the ideas I have put forward about the possible source of such unlikeness and ineffability might suggest models of God which would not find much theological approval, at least within any mainstream theistic tradition, since some sort of pantheism seems inevitably to be implied. But however this might be, the concept of radical unlikeness as it has been analyzed here can, I think, help us towards understanding certain problematic areas in religion quite apart from the issue of intelligibility, which has been the focus of this discussion. To begin with, radical unlikeness suggests a way in which the historical continuity of concepts of the transcendent might be upheld against the discontinuity suggested by the diversity of interpretations through which they have moved. Ancient and modern outlooks on, say, God differ enormously, as indeed do the range of co-temporal accounts at many particular moments. But, by and large, theologians firmly maintain that it is a single and unchanging phenomenon which is being dealt with. Unless we can point to some common element which is both specific enough to create a binding sense of common tradition, yet never completely expressed by any attempt at understanding it within that tradition (thus persistently demanding new attempts to apprehend it), then given the widely differing views of God within, for example, the Christian community, it is difficult to see how we could assume that in fact they all stemmed from the same source and were talking about the same thing. The idea of radical unlikeness could provide an element with just these required characteristics: it could be seen as what all the accounts attempt to net, with varying degrees of adequacy, within their offered interpretations. It could be seen as what remains constant, constantly elusive yet constantly generative of fresh attempts to apprehend it, throughout a history of intra-religious diversity. This sort of explanation could, presumably, be applied to the intra-religious diversity of the non-Christian traditions too.Secondly, radical unlikeness might suggest a possible way of understanding inter-religious diversity in a way which allows that whilst such diversity exists, whilst the differences between religions are real, they are grounded in a similar root-experience. It may, at first sight, seem difficult to continue thinking of the various religious traditions as truly separate phenomena if they are taken as being grounded on experiences whose ineffability stems from the unlikeness of experiencing things as a whole. Here we must stress again that if they are to be considered intelligible, radically unlike experiences cannot be considered completely so - or putting this another way, we cannot more than approach experience of totality. Sense can be given to religious claims of ineffability by suggesting experience of near totality, where we reach the last point on the scale of inclusiveness which complies with the logical criteria demanded of something for it to be possible for us to be aware of it. We might thus attempt an explanation of inter-religious diversity based on the view that Hinduism, Buddhism, Christianity, Islam etc. acquire their differences from the different elements included in their experience of near totality. Taking totality to be represented by the scale of one to ten, Hinduism might be seen as grounded on experience of 1-2-3-4-5-6-7-9-10, Buddhism on experience of 1-3-4-5-6-7-8-9-10 and so on. The resulting dissimilarities are thus centred not on different types of experience, but on different areas of inclusiveness. This is, of course, to suppose that the various religious traditions are all based on the same degree (as opposed to the same elements) of inclusiveness, but it is by no means clear that such a supposition is justified. Continuing with our decimal analogy, might it not be suggested that whilst Christianity stemmed from experience of 2-3-4-5-6-7-8-9-10, Jainism was founded on a less extensive encounter with the divine (say 4-5-6-7-8-9-10)? It is, however, uncertain how we can compare and evaluate different religious traditions in such a way as to be able to comment on such claims. A definite danger of comparative religion is that by concentrating on establishing and exploring inter-religious likenesses, it may obscure the radical unlikeness of religious phenomena. It should be borne firmly in mind that such likenesses as may be established within comparative studies may not win religious phenomena a place within our understanding comparable to objects of more everyday concern. Statements found in the Old Testament, the Qur'an and the Vedas, for example, may, on occasion, be alike, but at the end of the day such things are often alike only, or chiefly, in so far as they display the same radical unlikeness in relation to the non-religious elements in our outlook.The analysis of radical unlikeness and ineffability which has been advanced might also suggest a way in which certain passages in religious writings could be understood, passages which at first sight can be seriously perplexing. If, for example, to return to the quotation given in the introductory section of this paper, we continue to think of accounts of the nature of Shiva as being attempts to describe some discrete, objective entity, then it is inevitable that either we will share the Puranic writer's puzzlement or that much of what we read about Shiva will appear as the muddled and extravagant thinking thrown up by an uncritical and over-fertile mythological imagination, consisting of little more than a hotch-potch of contradictory elements. But if we see such accounts as attempting to say something about everything, as symbols of near totality stemming from experiences which verge on the holistic, then what we read - with all its ambiguities - may become somewhat more meaningful. Thus W.D. O'Flaherty comments that Shiva “embodies all of life in all its detail at every minute” (Asceticism and Eroticism in the Mythology of Shiva, London 1973, p. 315). Similarly Alain Dani41ou sees Shiva, ultimately, in terms of his being "the supreme state of reality" beyond whom there is only "non-existence" (Hindu Polytheism, London 1964, p. 190).This analysis of ineffability and intelligibility seeks to introduce for debate a possible way of understanding the radical unlikeness which accounts of religious experience apparently attempt to speak about. It does not, however, claim to present an exhaustive treatment of the issues raised, on the contrary, I am conscious of many shortcomings and omissions. For instance, it remains to be seen under precisely what conditions something counts as being an elucidating likeness (presumably all experiences are, for example, temporal, yet temporality alone would not seem to offer a particularly elucidating comparison). Moreover, the degree to which appeal to likeness is allowed operation in actual accounts of religious experience needs to be explored. In addition, the notion of categorizing experiences according to the extent to which they approach a point of total inclusion requires careful clarification. To begin with, according to what criteria could we establish that one experience was more inclusive than another? However, such issues can only be mentioned here, any adequate consideration of them would require a separate paper.In conclusion, I would suggest that to use radical unlikeness and/or ineffability simply as devices by which to halt any process of investigation, proclaiming that the thing in question is not like anything and so is beyond all words, risks making unintelligible and placing beyond all further inquiry an important and extensive area of human experience. As William Alston put it, to label something ineffable in an unqualified way is to shirk the job of making explicit the ways in which it can be talked about. William P. Alston, “ineffability”, Philosophical Review 65 (1956), 522. It is surely more accurate to take ineffability as a “qualifier”I.T. Ramsey, Models and Mystery (Oxford 1964), p. 60. which “multiplies models without end”Ibid. than as an absolute which prevents the construction of any elucidating models. (shrink)

It is often assumed that engaging in a one‐on‐one dialogue with a tutor is more effective than listening to a lecture or reading a text. Although earlier experiments have not always supported this hypothesis, this may be due in part to allowing the tutors to cover different content than the noninteractive instruction. In 7 experiments, we tested the interaction hypothesis under the constraint that (a) all students covered the same content during instruction, (b) the task domain was qualitative physics, (c) (...) the instruction was in natural language as opposed to mathematical or other formal languages, and (d) the instruction conformed with a widely observed pattern in human tutoring: Graesser, Person, and Magliano's 5‐step frame. In the experiments, we compared 2 kinds of human tutoring (spoken and computer mediated) with 2 kinds of natural‐language‐based computer tutoring (Why2‐Atlas and Why2‐AutoTutor) and 3 control conditions that involved studying texts. The results depended on whether the students' preparation matched the content of the instruction. When novices (students who had not taken college physics) studied content that was written for intermediates (students who had taken college physics), then tutorial dialogue was reliably more beneficial than less interactive instruction, with large effect sizes. When novices studied material written for novices or intermediates studied material written for intermediates, then tutorial dialogue was not reliably more effective than the text‐based control conditions. (shrink)

It is often assumed that engaging in a one‐on‐one dialogue with a tutor is more effective than listening to a lecture or reading a text. Although earlier experiments have not always supported this hypothesis, this may be due in part to allowing the tutors to cover different content than the noninteractive instruction. In 7 experiments, we tested the interaction hypothesis under the constraint that (a) all students covered the same content during instruction, (b) the task domain was qualitative physics, (c) (...) the instruction was in natural language as opposed to mathematical or other formal languages, and (d) the instruction conformed with a widely observed pattern in human tutoring: Graesser, Person, and Magliano's 5‐step frame. In the experiments, we compared 2 kinds of human tutoring (spoken and computer mediated) with 2 kinds of natural‐language‐based computer tutoring (Why2‐Atlas and Why2‐AutoTutor) and 3 control conditions that involved studying texts. The results depended on whether the students' preparation matched the content of the instruction. When novices (students who had not taken college physics) studied content that was written for intermediates (students who had taken college physics), then tutorial dialogue was reliably more beneficial than less interactive instruction, with large effect sizes. When novices studied material written for novices or intermediates studied material written for intermediates, then tutorial dialogue was not reliably more effective than the text‐based control conditions. (shrink)