In recent years, a number of philosophers have suggested that the aesthetic value sometimes depends on moral value. In this paper, I motivate and defend the inverse position: the view that aesthetic value sometimes partially grounds moral value. I appeal to Grand Budapest Hotel and The Lovely Bones to show that maudlin treatments of morally serious subject matter are sometimes disrespectful, in part because they are maudlin; I appeal to Madame Bovary to show that lyrical treatments of morally serious subject (...) matter are compassionate, in part because they are lyrical. I go on to clarify that aesthetic value and descriptive facts about the subject matter of an artwork jointly ground its moral value, and I conclude by considering and rejecting a number of potential objections to the aestheticist thesis. (shrink)

This book expands our understanding of a growing, yet largely unstudied phenomenon: the flow of children across borders through intercountry adoption. What explains the spread of intercountry adoption through the international system over time? McBride investigates the interconnected networks of states, individuals, and adoption agencies that have collaborated to develop the practice of intercountry adoption we see today. This book tells the story of how adoption agencies mediate between individuals and states in two ways: first by teaching states about intercountry (...) adoption as a policy, and second by helping states implement intercountry adoption as a practice. McBride argues that this process of states learning about intercountry adoption from adoption agencies has facilitated the global development of the practice in the past seventy years. (shrink)

Of the most recent turn to literary practices in contemporary art, this article studies one facet: that which relates to the lyric tradition. It hopes to make a case for ‘lyric images’, drawing on the works by artists Tacita Dean, Day for Night (2009), and Roni Horn, Still Water [...] (1999). Read around poems by Emily Dickinson, John Fuller and Margaret Atwood, how these artworks utilize photography’s natural capacity to mirror both the recursive syntactic structure and the blending of instantaneity (...) with immortality common to the lyric poem is explored. Particularly, the article considers notions of cyclical seriality – as composed of singular moments, yet tending towards the infinite – both formally and referentially. Whether these qualities provoke an imaginative and/or emotive looking that contrasts with our response to previous assumptions of the written form in conceptual art practices (e.g. Art and Language) is also reflected upon, in order to contemplate why this particular hybridising may be current in photographic practice. (shrink)

Mammalian placental pregnancy is a neglected problem case for theories of organismality. This example is closer to home than those typically discussed within philosophy of biology. I apply evolutio...

The story of the fall and rise of Zahavi’s handicap principle is one of a battle between models. Early attempts at formal modeling produced negative results and, unsurprisingly, scepticism about the principle. A major change came in 1990 with Grafen’s production of coherent models of a handicap mechanism of honest signalling. This paper’s first claim is that acceptance of the principle, and its dissemination into other disciplines, has been driven principally by that, and subsequent modeling, rather than by empirical results. (...) Secondly, there is a vast literature on biological signalling but few studies that make all of the observations necessary to diagnose the handicap mechanism. My final claim is that many of the applications of costly signalling theory in other disciplines are conceptually confused. Misinterpretations of what is meant by costly signalling are common. Demonstrating that a signal is costly is insufficient and is not always necessary in order to prove that, and explain why, a signal is honest. In addition to the biological modelling of signals, there is an economic literature on the same subject. The two run in parallel in the sense that they have had little mutual interaction. Additionally, it is the biological modelling that has been picked up, and often misapplied, by other disciplines. (shrink)

Recent years have witnessed an increased number of game-theoretic approaches to social norms, which apparently share some common vocabulary and methods. We describe three major approaches of this kind (due to Binmore, Bicchieri and Gintis), before comparing them systematically on five crucial themes: generality of the solution, preference transformation, punishment, epistemic conditions and type of explanation. This allows us to show that these theories are, by and large, less compatible than they seem. We then argue that those three theories struggle (...) to account for three phenomena pertaining to social norms (namely context-dependence, conflicting norms and self-evidence), with which any complete game-theoretic account should in principle be able to deal. (shrink)

Robustness analysis is widespread in science, but philosophers have struggled to justify its confirmatory power. We provide a positive account of robustness by analysing some explicit and implicit uses of within and across-model robustness in evolutionary theory. We argue that appeals to robustness are usually difficult to justify because they aim to increase the likeliness that a phenomenon obtains. However, we show that robust results are necessary for explanations of phenomena with specific properties. Across-model robustness is necessary for how-possibly explanations (...) of multiply instantiated phenomena, while within-model robustness is necessary for explanations of phenomena with multiple evolutionary starting points. In such cases, the appeal of robustness is explanatory rather than confirmatory. (shrink)

As library collections and services have increasingly moved from print to digital, much of the work that used to be done by libraries themselves with regard to creating, maintaining, and managing the systems that hold collections and facilitate user access to them is now done primarily by vendors. This change to the information services landscape for academic libraries is the occasion not only of technical and procedural challenges, but also some internal conflicts concerning the ethical demands of the library profession. (...) This essay examines the ways in which these conflicts become acute and obvious when attention is paid to the way in which attempts to promote equity, diversity, and inclusion (EDI) are undermined by the handover of library services to vendors, even when—or perhaps especially when—those vendors use their control of content and platforms to commodify diverse content instead of making the necessary systemic changes required by truly effective EDI efforts. (shrink)

This paper contributes to the explanation of human cooperative behaviour, examining the implications of Brian Skyrms’ modelling of the prisoner’s dilemma (PD). Augmenting a PD with signalling strategies promotes cooperation, but a challenge that must be addressed is what prevents signals being subverted by deceptive behaviour. Empirical results suggest that emotional displays can play a signalling role and, to some extent, are secure from subversion. I examine proximate explanations and then offer an evolutionary explanation for the translucency of emotional displays. (...) Selection acts on the basis of lifetime fitness consequences and, crucially for my argument, the intensity of selection decreases over the course of a lifetime. Hence we tend to possess traits that promote survival when young and, with regard to emotional displays, translucency allows successful maturation over our protracted period of nurturing by close kin. This is due to the vital role played by emotional interactions in the normal cognitive and social development of Homo sapiens. (shrink)

This paper contributes to the explanation of human cooperative behaviour, examining the implications of Brian Skyrms’ modelling of the prisoner’s dilemma. Augmenting a PD with signalling strategies promotes cooperation, but a challenge that must be addressed is what prevents signals being subverted by deceptive behaviour. Empirical results suggest that emotional displays can play a signalling role and, to some extent, are secure from subversion. I examine proximate explanations and then offer an evolutionary explanation for the translucency of emotional displays. Selection (...) acts on the basis of lifetime fitness consequences and, crucially for my argument, the intensity of selection decreases over the course of a lifetime. Hence we tend to possess traits that promote survival when young and, with regard to emotional displays, translucency allows successful maturation over our protracted period of nurturing by close kin. This is due to the vital role played by emotional interactions in the normal cognitive and social development of Homo sapiens. (shrink)

A survey of 106 medical students assessing their interest in and attitudes to medical ethics in the curriculum is reported by the authors. Results indicate that 64 per cent of the students rated the importance of medical ethics to good medical care as high or critical and 66 per cent desired to learn more about the topic. However, in reports of patient encounters identifying ethical issues, less than six per cent of the students reported a frequency of more than one (...) such patient encounter per week. The students also demonstrated a greater awareness of more obvious ethical issues than of more subtle, less publicised issues. When asked how medical ethics should be taught, the students clearly affirmed a desire for an integrated exposure to the subject throughout the medical curriculum. Possible implications of these findings for medical education are discussed. (shrink)

The text followed in this edition is that established by TH Green and TH Grose and printed in their critical edition of Hume's Essays, Moral, Political, ...

Most twentieth-century discussions of Hume’s politics echo the view expressed by T. H. Grose in his 1889 introduction to Hume’s works where he says that Hume’s philosophical labors came to an end when he started writing essays and history.1 In his foreword to the revised edition of Hume’s Essays, Eugene Miller voices his disagreement with this view, saying, “Hume’s essays do not mark an abandonment of philosophy . . . but rather an attempt to improve it by having it (...) address the concerns of common life” .2 It is hard to know where the contemporary consensus lies on this issue because very few scholars consider what connections might exist between Hume’s more strictly philosophical work and .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:323 A DEFENSE OF HUME ON IDENTITY THROUGH TIME A durable complaint against Hume is that he blatantly begs the question in his Treatise account of our acquisition of the idea of identity through time. Green and Grose made the accusation in 1878; one hundred years later Stroud echoed the same accusation, its force and liveliness seemingly undiminished. I suggest that this accusation is based on a tempting (...) but unwarranted assumption about Humean perceptions. It is unwarranted despite Price's arguments for it. When the assumption is corrected Hume is exonerated. This defense prepares the way for a new understanding of Hume's subtle and important theory of identity. Clarifying his theory is the goal; defending him is the means. I will merely summarize the Green and Grose interpretation, saving detailed examination for Stroud's. Stroud's version seems more tightly argued for and spares one the problems of interpreting commentators from a different philosophical tradition. Green and Grose run together Hume's account of the acquisition of the idea of identity, with his account of the application of that idea to a succession of related perceptions. This fully intended confusion can be explained by their understanding of Hume's claim that "impressions are... perishing existences." (T 194) They assume that for Hume no perception (impression or idea) is a unity if it exists at an interval of time composed of a succession of times. Rather the perception is really a succession of perceptions. Their assumed interpretation makes Hume seem to them to beg the question as follows: To acquire the idea of identity through time is to acquire the idea of something 324 which is unitary and exists at a succession of times. But any impression which might give this idea is really a succession of related impressions. A succession of related impressions can convey the idea of identity only by being confused with a unitary impression which exists at a succession of times. Such confusion would be possible only for someone who already had the idea of something unitary which exists at a succession of times. So the idea of 2 identity can be acquired only if it is already had. In other words, Hume claims that an impression had for a relatively long time gives the idea of identity. Any long impression is really a succession. A succession can give the idea of identity only if it is confused with something that has identity. That confusion requires the idea of identity already. So Hume begs the question. There are gaps in this argument. But its influence has been important and its structure is clear: If we assume that perceptions are exceedingly brief, then Hume begs the question. (I will call the assumption 'the prosecution's assumption.') Stroud's argument that Hume begs the question has the same structure, or so I will argue. The role of the prosecution's assumption is not immediately apparent, but it is a crucial role. Stroud's accusation is as follows: By Hume's definition, identity is the invariableness and uninterruptedness of an object through a supposed change in time. (T 201) However, on Hume's account of acquiring the concept of identity, the acquisition involves imagining a change in time without any variation or interruption in an object. But that just ¿s, by definition, to imagine the object's identity through the change in time. So acquiring the concept of identity requires an act of imagination involving the 325 concept of identity. So, Stroud concludes, on Hume's account the concept of identity can be acquired only 3 if it is had. Hume's account begs the question. I think it is usually unwise to attribute blunders to subtle thinkers. I will not do it to Hume, nor to his commentators. I will argue that what Hume presupposes in explaining identity through time is a little different from identity through time. Thus the presupposition is not question-begging. More specifically, I will argue that Hume distinguishes three technical concepts, three ways to take up time: (i) merely occupying an interval of time, (ii) having duration for an interval of time, and (iii) being identical through an interval of time. Concept (iii... (shrink)

The honesty of animal communication is in the spot lights in the last 30 years. During most of this time the field was dominated by one explanation: Zahavi’s handicap principle (Zahavi, J Theor Biol 67:603–605, 1975 ; Grafen, J Theor Biol 144:517–546, 1990 ). Grose (Biol Philos 2011 ) embarks to explain both the success of the theory and the empirical difficulties that exist despite this success. While I wholeheartedly agree with the criticism offered by Grose and with (...) almost all the claims he makes, the treatment of the issue is far from complete and it still leaves much to be explained. Accordingly, my commentary consist of six sections: in the first section I clear up some technical issues left unexposed, most importantly the role of strategic cost in handicap signalling; in the second section I relate this to empirical testing; in the next section I comment on the historical development of the handicap principle; in the fourth section I review the biological models that came up with conclusions that contradict the handicap principle; in the fifth section I discuss the reasons behind the success of the handicap theory; finally, in the last section I discuss the application of the handicap theory to anthropology and human sciences. (shrink)

Tradução para o português da "Dissertation on passions", de David Hume. Tradução realizada com base nas seguintes edições: 1. Four Dissertations/ David Hume, edited by John Immerwahr. (Facsimile da edição de 1757 publicada por A. Millar, Thoemmes Press, 1995); 2. A Dissertation on the passions ; The natural history of religion : a critical edition /David Hume; edited by Tom L. Be auchamp. (The Clarendon Edition of the Works of David Hume. Oxford: Ox ford University Press, 2007); 3. The Complete (...) Works of David Hume . 1882-1886, edited by Green T.H. & Grose, T. H. (Edição eletrônica in CD-ROM, Série “Past Masters”. Charlottesville : InteLex Corporation, 1992). A paginação entre // corresponde à paginação da edição de 1757, reproduzida na edição da Thoemmes Prees, 1995, editad a por John Immerwahr. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:An Enquiry Concerning the Principles of MoralsIan RossDavid Hume. An Enquiry Concerning the Principles of Morals. Tom L. Beauchamp, editor. The Clarendon Edition of the Works of David Hume. New York: Oxford University Press, 1998.An edition of Hume's philosophic writings on rigorous, modern bibliographic principles has long been a scholarly desideratum. Readers in the many fields in which Hume's thought and style have made a profound impression have (...) basically relied on the originals or derivatives of efforts of the Victorian era. One is Hume's Philosophical Works (4 v., London: Longmans, Green & Co., 1874-75), edited by the Oxford dons, T. H. Green and T. H. Grose. Well-known for his idealist philosophy and theory of liberalism, Green contributed introductions to the first and second volumes criticizing Hume from an anti-empirical standpoint. Grose offered a "History of [Hume's] Editions" as an introduction to the third volume, and claimed to have revised Hume's text throughout. This edition has the virtue of comprehensiveness, but is deficient in its offering of variant readings. Later there came from Oxford University Press editions of the Treatise of Human Nature (1888), deemed generally sound, and the two Enquiries (1894), marred by departures from Hume's text, prepared by a prominent civil servant, Sir Lawrence Amherst Selby-Bigge, whose chief contribution was to provide useful analytical indices. An attempt at achieving higher editorial standards was made by P. H. Nidditch, Professor of Philosophy in the University of Sheffield, in a "second" edition of Selby-Bigge's Treatise (1976) and a "third" edition of his text of the Enquiries (1975). Limits were imposed by Oxford University Press, apparently unwilling to make more then small changes in the existing pages. Nidditch announced (Enquiries, 1975, at p.348, n.2) that he had a "fresh" edition in preparation, but he did not live to complete this project.In the event, the challenge to produce a critical edition of Hume's philosophical, political, and literary writings was canvassed at early meetings of the Hume Society formed in 1973. Thereafter, in 1982, a team of general editors was formed by T. L. Beauchamp, D. F. Norton, and M. A. Stewart, determined to organize and finish the task in hand, and Oxford University Press finally conceded it was time to replace Selby-Bigge. With the appearance of Tom Beauchamp's "critical edition" of the second Enquiry (hereafter identified as EPM), published on 4 August 1999, but bearing the date 1998, the long wait for a reliable text, bibliographic apparatus, and ancillary scholarship, worthy of Hume, must be declared over.If we grant that it is appropriate to introduce the new Clarendon Edition of the Works of David Hume with the piece he deemed "best," it must also be asked why he made this judgment. Philosophers have generally held that his Treatise of Human Nature (1739-40) is the most profound and searching statement of his epistemological and moral thought, but its seeming lack of immediate success with readers made Hume dissatisfied with it. Such were his negative feelings, coupled with irritation at attacks on him focused on this "juvenile" work, that he partially repudiated the Treatise at the end of his life. He wrote an "Advertisement" to this effect, and it was inserted as a preface to the authoritative and posthumous 1777 edition of his Essays and Treatises. Here he stated he was "sensible of the error of going to the press too early, and he cast the whole [of [End Page 280] the Treatise] anew in the following pieces [including EPM], where some negligences in his former reasoning and more in the expression, are, he hopes, corrected" (EPM Intro., xii-xiii, n.4).On the evidence of Beauchamp's editorial labors, it would appear that EPM is Hume's "best" work in this sense. It represents the most thorough recasting of source material provided by the Treatise. Its essential moral principles and psychological insights about the passions are retained, but "readability and elegance" are achieved by pruning, simplifying, and compacting the Treatise's complex teaching, while adding a wealth of illustrative material drawn from Hume's mature reflection on his subject and... (shrink)

Suddenly, my research was brusquely interrupted by romance. Conceptually, that is.The precipitant was an essay by Becca Rothfeld about the collected letters of Iris Murdoch, a philosopher at Oxford who strayed, and flourished, as a novelist. “Her scholarly area was ethics, and her primary preoccupation was love, both romantic and platonic,” Rothfeld writes. “This was a topic whose manifest importance she felt was chronically neglected by her peers, most of them analytic philosophers.”1Murdoch is right, I thought. Socrates and friends, (...) lolling around the Symposium talking about beauty and boys, downplayed the physical side of romantic love. Dante chastely chased his beloved Beatrice into... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Philosopher’s Seduction: Hume and the Fair SexVicki J. SappFollowing the failed reception of his Treatise David Hume turned to writing essays and published these in various editions throughout his career. Among the first offerings were essays addressing “the female reader,” “the ladies,” or “the fair sex” in that current habit which Jonathan Swift labelled “fair-sexing it.” Hume’s Victorian editors T. H. Green and T. H. Grose classified (...) and commented upon these woman-appeal essays “apparently designed to attract the attention of ladies, and marked by the mannerisms of what was then a fashionable literature,” concluding that these “can hardly have been much to their writer’s taste, and... mingle strangely with a series of discussions on the British Constitution.” 1 Green and Grose refer to the fact that Hume gradually eliminated his woman-appeal essays from the editions; today, we find these “literary” texts safely removed from the “moral and political” frame and anthologized as “Essays Withdrawn and Unpublished” in the two modern editions of Hume’s essays. 2Following Hume’s apparent cue, the critical tradition has paid little heed to the woman-appeal essays except in those cases where kind neglect has given over to insult or factionalism. From the former category we find contemporary readers such as M. A. Box who in his rhetorical analysis of Hume’s opus echoes earlier judgments of these essays as frivolous, mercenary, essentially devoid of substantive or stylistic worth—and most certainly unphilosophical. In the latter case, scattered commentators from the 1970s and 1980s reflecting those decades’ gynocritical trend built cases for Hume’s “sexism” (primarily) or “feminism” (most notably the philosopher Annette Baier). And Jerome Christensen has attended to Hume’s female reader in his [End Page 1] elaborate theoretical play with Hume’s gender as a metaphor for his literary ambitions. 3What is curious is that each of the above readers has passed over the woman-appeal essays in favor of Hume’s “serious” writing (for example, Treatise, Book III, Part II, sect. xii, “Of Chastity and Modesty”) or his letters, even though the rejected woman-appeal essays are obviously rich sources for a study of Hume’s gender perspectives. It is true that in “Of Chastity and Modesty” Hume offers what is perhaps his best evidence of society’s conventional as opposed to metaphysical foundations, in his argument that the laws of chastity governing female education and behavior are certainly “notions... founded on the public interest,” that is, patriarchal property interest. In the woman-appeal essays Hume actually works out, by illustration, the gender-biased foundational intricacies of his social contract philosophy, especially the importance of education to the regulation of society: “As publick praise and blame encrease our esteem for justice; so private education and instruction contribute to the same effect.... For these reasons [parents] are induc’d to inculcate on their children, from the earliest infancy, the principles of probity, and teach them to regard the observance of these rules, by which society is maintain’d, as worthy and honourable, and their violation as base and infamous.” 4The rejected woman-appeal essays include titles that bespeak a focus on gender, education, and social formation (“Of Love and Marriage,” “Of Moral Prejudice”), as well as titles that appear more public or scholarly: “Of Essay Writing,” “Of the Study of History.” In spite of their topical neutrality or marginally “political” tone, these latter two I identify as Hume’s core woman-appeal essays. In them Hume brings the female reader into the spotlight, inviting her into a dialogue with the male philosopher-essayist; she is to share in a sort of Humean Utopia of gender-mixed educated, genteel company servicing the ends of true philosophy in the marriage of intellection and experience. As overt appeals to “women of Sense and Education” featuring some gestures towards gender equality, these essays, one suspects, were doomed to eventual rejection by both Hume and a subsequent critical tradition prone to the kneejerk devaluation of woman-appeal.I offer here evidence that the rejected essays do have “philosophical” merit as they take up or dramatize core ideas of Treatise philosophy. These essays also feature some... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Essays on Happiness John Immerwahr The second volume of Hume's Essays, Moral and Political (1742) includes a set offour pieces on the sects, that naturally form themselves in the world. These essays, "The Epicurean," "The Stoic," "The Platonist," and "The Sceptic,"refer to the ancient philosophical schools, but their main purpose, according to Hume, is to describe four different ideas ofhuman life and ofhappiness. There is little discussion ofthese (...) works in the Hume literature, but Hume himself seemed to be rather fond of them. Although several early essays were dropped from later editions, this set reappears in every version of the Essays. Hume also invested unusual care in crafting these essays, "polishingthe sentences with such precision," according to Green and Grose, "that the subsequent editions made scarcely an alteration in their language." In this article I will argue that these essays do play a significant role in Hume's overall philosophical strategy, and that a close reading ofthem helps us fill out important aspects of Hume's moral philosophy. An Attractive Reading of the Four Essays In one of the few detailed discussions of these essays, Robert Fogelin presents one reading that has a good deal of initial plausibility. Fogelin's interpretation has several main points. First, he dismisses the importance of the first three essays and asserts that "despite certain particular points of agreement," these essays are "not expressive ofHume's own position." Secondly, he argues that the final essay, "The Sceptic," does represent Hume's own position, and that in this essay Hume presents himself"under the thinnest possible disguise." In effect, Fogelin'sinterpretation is that"The Sceptic"canbe profitably readinisolationfrom the first three. Finally, Fogelin sees "The Sceptic" as having roughly the same function as the Treatise ofHuman Nature. He sees "The Sceptic" as another technical philosophical work where Hume tries, in a somewhat different way, to work out the relationship between scepticism, morality, and the passions. It is not hard to see what makes this type of interpretation plausible. On stylistic grounds alone, there are reasons to dismiss the first three essays and focus attention primarily on "The Sceptic." The first three are quite brief and are written in a rhetorical and flowery style, whereas "The Sceptic" is longer (as long as the other three essays combined) and returns to Hume's normal prose style. Substantively, Volume XV Number 2 307 JOHN IMMERWAHR there are many doctrines in "The Sceptic" which, as Fogelin correctly points out, are reminiscent of Hume's other philosophical works. An Alternative Reading Despite the plausibility of this reading, I will defend an alternative interpretation. First, I will argue that the essays are intended to be read as a set. The four essays constitute a philosophical dialogue that consists offour closely related speeches; it is misleading to read one of the speeches out of the context of the dialogue as a whole. Secondly, I will try to show that none of the speakers represents Hume's own position. From Hume's point of view, all of the speeches make important points but also contain significant errors. Finally, I will argue that the purpose of these popular essays is different from the goal of technical philosophical works such as the Treatise. While the Treatise is intended to describe and analyze human nature, the purpose ofthese essays is therapeutic rather than analytic; they are designed to change rather than to inform the reader. In the next three sections I discuss these claims in detail. I. Hume's First Dialogue Taken together, the four essays can be read as Hume's first (but by no means last) effort in dialogue writing. The evidence that they were intended by Hume as a dialogue is drawn from what Hume says about them, from internal evidence, and from a comparison with their classical model, the dialogues of Cicero. For the most part, Hume wanted his readers to see his Essays as stand-alone pieces. In the Advertisement for the first volume Hume warns his readers that they must not look for any Connexion among these Essays, but must consider each ofthem as a Work apart. But both in the Advertisement to the second volume (where... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:77 KEMP SMITH, HUME AND THE PARALLELISM BETWEEN REASON AND MORALITY In a letter to a physician written in 1734 Hume expressed a dissatisfaction with the current state of philosophy and criticism, a dissatisfaction which he said had led him to strike out on his own and "seek out some new Medium, by which Truth might be establisht." He then went on to claim success: "After much Study, & (...) Reflection on this, at last, when I was about 18 Years of Age, there seem'd to be open'd up to me a new Scene of Thought, which transported me beyond Measure, & made me, with an Ardor natural to young men, throw up every other Pleasure or Business to apply entirely to it..." The wording suggests that the new Scene of Thought was a clear revelation, but nowhere does Hume tell us what the revelation was. (A clue, perhaps, is to be found in the "Abstract," where Hume says that if anything entitles him to the name of an inventor, "it is the use he makes of 2 the principle of the association of ideas.") Kemp Smith is convinced, however, that he knows what the new Scene of Thought was. According to Kemp Smith, Hume had already discovered that morality rests on feeling alone and depends in no way on insight or evidence, and the new discovery was simply the sudden realization that belief is equally independent of these considerations. I will argue in this paper that the great difficulty in this interpretation is that in those sections of the Treatise and the second Enquiry in which Hume expounds what could be called his moral epistemology he is concerned with pointing out what he considers to be important differences between reason and taste and between understanding and morality. I am not, however, questioning the validity of Kemp Smith's naturalistic interpretation, if it is broadly construed. 78 A curiosity of Kemp Smith's exposition is his citing of passages from Hume, which at first glance anyway seem to weaken, rather than strengthen, his case for the parallelism of moral and factual judgments. I will give two examples, the first being a quotation from the Green and Grose edition of the Enquiry. That Faculty, by which we discern Truth and Falsehood, and that by which we perceive Vice and Virtue had long been confounded with each other, and all Morality was suppos'd to be built on eternal and immutable Relations, which, to every intelligent Mind, were equally invariable as any Proposition concerning Quantity or Number. But a late Philosopher [Mr. Hutcheson, added as a note] has taught us, by the most convincing Arguments, that Morality is nothing in the abstract Nature of Things, but is entirely relative to the Sentiment or mental Taste of each particular [i.e. species] of Being; in the same Manner as the distinctions of sweet and bitter, hot and cold, arise from the particular feeling of each Sense or Organ. Moral Perceptions, therefore, ought not to be class 'd with the Operations of the Understanding, but with the Tastes or Sentiments. On the next page of this book Kemp Smith refers to this passage as part of the evidence for his claim that "the view here taken of our moral judgments of approval and disapproval can be extended to our beliefs regarding matters of fact and existence, and that 'logic', morals and 'criticism' may thus be brought 4 within the scope of the same general principles." The reference to "external and immutable Relations" may have led Kemp Smith to believe that Hume's thesis in this paragraph is the contrast between demonstrative and other kinds of judgment, but the last sentence is a decisive refutation of that interpretation. Hume frequently uses the term "understanding" to refer to causal reasoning, though in this sentence he seems to be using the term in 79 the more inclusive sense that would include demonstration and relations of ideas as well. But I know of no instances in which "understanding" is restricted to what Hume calls science, i.e., demonstration. Kemp Smith also quotes from the last section of Appendix I to the second Enquiry. This passage, appearing in the Selby-Bigge... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume, Shaftesbury, and the Peirce-James Controversy EDMUND G. HOWELLS I. ACCORDING TO HUME, the "religious hypothesis" is "a particular method of accounting for the visible phenomena of the universe''1 that is "mere conjecture and hypothesis," (Enquiry, 145) and "both uncertain and useless" (Enquiry, 142). But there was one version of this hypothesis that seemed to pose particular difficulties for him in making these claims convincing. This was Shaftesbury 's (...) view of the world as the object of "divine passion." Besides Shaftesbury's massive influence at the time, Hume was wrestling with the peculiar disadvantage of having agreed with him on so many points, particularly in the attempt to solve the problem of personal identity. He attempted to discredit Shaftesbury's "particular method" on several levels: viz., it cannot be rationally justified, deductively or inductively ; it is not really a belief, so afortiori it is not a natural belief; to the extent it is confused with a genuine belief, its effects are very rare and transitory unless it degenerates into superstition or enthusiasm, which are demonstrably pernicious. 2 These attacks were frequently reinforced with arguments ad hominem. Shaftesbury's theism is extremely ambiguous. In the Essay Concerning Virtue or Merit he pronounced, "to believe therefore that everything is governed, ordered, or regulated for the best, by a designing principle or mind, necessarily good or permanent, is to be a perfect theist" (CH I:240). This is merely the least common denominator of what all eighteenth-century natural theologians agreed could be inferred a posteriori from some form of design argument. Shaftesbury used several analogies to support this view, each based upon a comparison of a part of the universe to the whole:(l) an artifact, for example, a watch (CH I: 190), a ship (CH i Enquiry Concerning Human Understanding, ed. L. A. Selby-Bigge,2nd ed. (Oxford: Clarendon Press, 1902),p. 139;hereafter cited as Enquiry. The quotes in my opening statement are technically not from Hume himself but from his "sceptical friend who lovesparadoxes." But the closest Hume comes to a single refutation of all forms of the "religious hypothesis," comparable to Cleanthes' "entirely decisive" refutation of Demea's version of the ontological argument (Dialogues, 189),is stated by Hume in his own person in the final paragraph of this section (Enquiry, XI). Other abbreviations used in this paper are: Treatisefor.4 Treatiseof Human Nature, ed. L. A. SelbyBigge {Oxford: Clarendon Press, 1949);Abstract for An Abstract of a Treatiseof Human Nature, 1740, ed. J. M. Keynesand P. Sraffa (Cambridge: Cambridge University Press, 1938);G&G for David Hume: The Philosophical Works, ed. T. H. Green and T. H. Grose, 4 vols. (London, 1886); Dialogues for Dialogues ConcerningNatural Religion, ed. Norman Kemp Smith, 2nd ed. (Indianapolis: Bobbs-Merrill, 1947); Letters for The Letters of David Hume, ed. J. Y. T. Grieg, 2 vols. (Oxford: Clarendon Press, 1932); CH for Characteristics of Men, Manners, Opinions, Times, ed. J. M. Robertson, 2 vols. (Indianapolis : Bobbs-Merrill, 1964). A roman numeral followed by a colon denotes volume; other roman numerals denote parts or sections; arabic numbers denote pages. 2For a striking exampleof one of their many points of agreement cf. Hume's essay(G&G 111: 144-150) with CH 11: 178-180. [4491 450 HISTORY OF PHILOSOPHY II:66), "a pile of regular architecture" (CH II:66-67), is to the artisan as the universe is to God. (2) A work of art, for example, a symphony (CH II :66), is to the artist as the universe is to God. (3) An organ is to the organism as the organism or species is to the teleologically structured and intelligent whole (CH I:243ff.) 3 (4) Microcosm (man) to Macrocosm (God), that is, man's mind is the governing principle over the other parts of his nature as God's mind is to the universe: though "all else may be only dream and shadow. All which even sense suggests may be deceitful.... Reason subsists." We are "in a manner conscious" that our reason is part of the pervasive world soul which inhabits our own, and "all nature's wonders serve to excite and perfect this idea of their author" (CH II : 112). In keeping with... (shrink)

This title sees the re-emergence of the seminal 1970s magazine Curtains edited by Paul Buck. With its early promotion of French writers such as Georges Bataille, Maurice Blanchot, Jacques Derrida, Jean-Pierre Faye and Edmond Jabès, Curtains’ re-appearance in 2016 arrives after an exhibition at Focal Point Gallery in 2012 that was recreated from an earlier 1992 work at Cabinet Gallery around the concept of ‘disappearing’. The invited contributions come from thirteen artists with whom the editor has engaged over the years. (...) In addition, Buck has returned to pull threads from the earlier editions of his magazine to explore ideas with writers encountered in the intervening years, making all appear in a consolidated grouping as a final gesture, one that refuses to disappear. Contributions include those by: Kathy Acker, Anne-Marie Albiach, Mireille Andres, Stephen Barber, David Barton, Diane Bataille, Georges Bataille, Mathieu Bénézet, Jean-Pierre Bobillot, Joë Bousquet, Michael Camus, Danielle Collobert, David Coxhead, John Cussans, Tatjana Doll, Jerry Estrin, Ulli Freer, Margarita Gluzsberg, Paul Green, Anouchka Grose, Pierre Guyotat, Susan Hiller, Andrew Hunt, Franz Kamin, Chris Kraus, Liane Lang, Roger Laporte, Francesca Lisette, Lucy McKenzie, Bernard Noël, Hestia Peppe, Holly Pester, Perle Petit, Richard Prince, Pascal Quignard, Clunie Reid, Mitsou Ronat, Claude Royet-Journoud, Eugène Savitzkaya, Will Shutes, Sophie Sleigh-Johnson, Miroslav Tichy, Colette Thomas, Simon Thompson, Sophie von Hellermann, and Gabrielle Wittkop. (shrink)