This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Introducing Christian Ethics by Samuel Wells and Ben Quash, and: Christian Ethics: An Introductory Reader ed. by Samuel WellsBradley B. BurroughsReview of Introducing Christian Ethics SAMUEL WELLS AND BEN QUASH Malden, MA: Wiley-Blackwell, 2010. 400 pp. $49.95Review of Christian Ethics: An Introductory Reader EDITED BY SAMUEL WELLS Malden, MA: Wiley-Blackwell, 2010. 360 pp. $51.95Whether in a semester-long course or a textbook, the task of introducing Christian ethics generally (...) requires one to choose between various competing priorities. Perhaps the most remarkable feature of Introducing Christian Ethics is that it eschews such choices. Instead of settling for an “either/or,” Samuel Wells and Ben Quash repeatedly push for “both/and.” Their introduction not only traces the historical development of Christian ethics, examining major historical thinkers and elucidating the larger arcs that connect them, but also treats the work of contemporary Christian ethicists. Moreover, on the one hand, the authors develop a typology of ethical thought that distinguishes various strands according to the audience to which ethical reflection is directed—universal ethics (which addresses all people), subversive ethics (which addresses the oppressed), and ecclesial ethics (which addresses Christians). On the other hand, the authors also show how notable representatives of these strands approach matters of contemporary ethical concern. To this, Wells adds a sourcebook that allows for readers to interact further with many of the thinkers treated in the introductory text as well as helps to shed further light upon these three strands of Christian ethics. The scope of the project represented by these two books is thus exceptionally ambitious: it strives to provide a comprehensive overview of the field and organize it according to an innovative typology.Introducing Christian Ethics proceeds in three parts. In part 1, Wells and Quash tell “the story of Christian ethics,” exploring the biblical, historical, and philosophical sources from which Christian ethics has most commonly drawn and offering brief depictions of a vast array of Christian thinkers, including Justin Martyr, Tertullian, Augustine, Thomas Aquinas, Martin Luther, John Calvin, Reinhold Niebuhr, and many others. Part 2, titled “The Questions Christian Ethics Asks,” lays out the threefold taxonomy of universal, subversive, and ecclesial ethics, illustrating each with reference to thinkers both historical and contemporary. Finally, part 3 turns to “the questions asked of Christian [End Page 233] ethics,” treating issues of “good order” (including the role of the state and the nature of justice), “good life” (economics, poverty, and work), “good relationships” (friendship, marriage, homosexuality), “good beginnings and endings” (contraception, abortion, euthanasia), and “good earth” (animals, crops ecology). For each of the issues treated in part 3, the authors offer an overview and an account of how thinkers from each of the strands of Christian ethics have addressed that topic.Wells and Quash bring an admirably broad view of the field to bear upon this project. Famous thinkers factor prominently. And yet the book also treats the work of those less likely to appear in introductory texts, such as Germain Grisez, John Mbiti, and Stephen Clark. Whether they are of the renowned or lesser-known, the sketches of thinkers that occur throughout the book are on the whole quite accurate. Although there are places where experts might wish to call out slight mischaracterizations, the renderings are precise enough to serve introductory readers. Wells and Quash’s broadness of vision also includes both Protestant and Roman Catholic thought. Whereas Introducing Christian Ethics focuses primarily upon papal encyclicals as exemplifying the latter, Wells’s introductory reader adds selections from Gustavo Gutiérrez, Margaret Farley, Dorothy Day, and others to help exemplify the complexity of Roman Catholic ethical reflection. Eastern Orthodoxy gets shorter shrift, an observation offered as a note to potential readers rather than a criticism.Even as its comprehensiveness equips Introducing Christian Ethics for use in a variety of ways and contexts, the quest for comprehensiveness appears to be at the heart of some of the book’s infelicities. Attempting to treat so many thinkers and concepts, it frequently moves at a brisk pace, touching upon complex phenomena and abruptly moving on. In many places, the questions the book answers for the entry-level readers at which it aims... (shrink)

The first feature film made about the design and deployment of the atomic bomb, The Beginning or the End, begins with fake newsreel footage depicting the burial in a time capsule of a copy of the film and a projector to show it on. The scene, with its funereal overtones yet grim optimism that, even in the face of catastrophic destruction, the germ of civilization will endure, recalls the ceremonies surrounding the interment of the Westinghouse time capsule at the New (...) York World’s Fair in 1939. Time capsules, this article argues, stand in a complex relation to war and temporality, seeking to at once anticipate and work through the challenge posed to futurity by the threat of global conflict. As a container, the capsule attempts to deliver and control the reception of a legible inventory of the present, yet the principle of selection and the impossibility of predicting how information might be received in the deep future – if it is received at all – threatens this aim. The dilemma faced by time capsule curators is, we argue with reference to William Burroughs’ and Brion Gysin’s so-called cut-up method of writing, one of control. By reading the time capsule through the cut-up, anticipated catastrophe can be seen to be functioning proleptically in the present and already active as a challenge to the capsule as proof against disaster. (shrink)

There are a number of geophysical and astrophysical problems with Burroughs' s setting. Perhaps it is pointless to complain, 75 years too late, about the "hardness" of such science fantasies, for the strong suit of Burroughs' writings always lay in their imaginative sweep, never their scientific accuracy. In the case of Pellucidar, however, Burroughs committed a blunder that sets the teeth of every physicist on edge: he assumed that gravity would pull toward the inner surface of a (...) hollow sphere. (shrink)

This presentation of Aristotle's natural deduction system supplements earlier presentations and gives more historical evidence. Some fine-tunings resulted from conversations with Timothy Smiley, Charles Kahn, Josiah Gould, John Kearns,John Glanvillle, and William Parry.The criticism of Aristotle's theory of propositions found at the end of this 1974 presentation was retracted in Corcoran's 2009 HPL article "Aristotle's demonstrative logic".

Fischer here defends the contention that moral responsibility is associated with "deep control", which is "in-between" two untenable extreme positions: "superficial control" and "total control". He defends this "middle way" against the proponents of more--and less--robust notions of the freedom required for moral responsibility. Fischer offers a new solution to the Luck Problem, as well as providing a defense of the compatibility of causal determinism and moral responsibility.

When we say that someone knows something we are making a value judgment—we are saying that there is something intellectually good or right about the person’s belief, or about the way she believes it, or perhaps about her. We are saying, for example, that her belief is intellectually better than someone else’s mere opinion. Notice that we might make this sort of value judgment even if the two persons agree. Suppose that two people agree that the earth is the third (...) planet from the sun. Nevertheless, we might think that one person knows this while the other person merely believes it. If so, we are making a value judgment—we are saying that there is something intellectually better going on in the case of knowledge. Another way to put the point is to say that knowledge is a normative notion. There is something normatively better about the case of knowledge, as opposed to the case of mere opinion, or even the case of true opinion. Finally, saying that someone knows something is not the only sort of value judgment we can make about her belief. Even if we agree that some belief falls short of knowledge, we might nevertheless judge that it is justified, or rational, or reasonable, or responsible. In each such case, we are saying that there is something normatively better about the case in question, as opposed to the case of mere opinion, or even the case of true opinion. (shrink)

Environmental aesthetics is an emerging field of study that focuses on nature's aesthetic value as well as on its ethical and environmental implications. Drawing on the research of a number of disciplines, this exciting new area speaks to scholars working in a range of fields, including not only philosophy, but also environmental and cultural studies, public policy and planning, social and political theory, landscape design and management, and art and architecture. _Nature, Aesthetics, and Environmentalism: From Beauty to Duty_ addresses the (...) complex relationships between aesthetic appreciation and environmental issues and emphasizes the valuable contribution that environmental aesthetics can make to environmentalism. Allen Carlson, a pioneer in environmental aesthetics, and Sheila Lintott, who has published widely in aesthetics, combine important historical essays on the appreciation of nature with the best contemporary research in the field. They begin with classic pieces by Ralph Waldo Emerson, Henry Thoreau, John Muir, John Burroughs, and Aldo Leopold, as well as an essay by Eugene Hargrove that lays out the scientific, artistic, and aesthetic foundations of current environmental beliefs and attitudes. The second section of the book addresses prevailing views on the conceptualization of nature and the various debates on how to properly and respectfully appreciate nature. The third section introduces positive aesthetics, the belief that everything in nature is essentially beautiful, even the devastation caused by earthquakes or floods. The essays in the final section explicitly bring together aesthetics, ethics, and environmentalism to explore the ways in which each might affect the others. (shrink)

Seldom does human reasoning fit the standards of deduction. Yet logicians have tended to use the strict standards of deductive validity for assessing all inferences. _Within Reason_ develops instead a way of assessing arguments and inferences that is directly appropriate to the non-deductive forms people regularly use. It uses analogy, and argument from analogy, to provide a thread that unites various forms: raising objections, inductions of various sorts, arguments to explanation, and arguments to action. The discussion is developed progressively, at (...) each stage building on the skills learned previously. And at each stage the book suggetss ways of assessing the strength of reasoning. Most of the examples are taken from the great texts of the Western tradition. In the exercises that form an integral part of each chapter an even broader range of writing is presented, offering instructors an extraordinary variety of texts at various levels ot assign to their students. The thesis implicit in the book is that induction, arguments to explanation and arguments to action are all sophisticated forms of arguments from analogy. Burbidge is concerned not simply to warn against the misuse of non-deductive reasoning but also to develop a more positive theory that allows us both to better udnerstand the workings of non-deductive reasoning, and to better employ it. (shrink)

This chapter contains section titled: The Encounter with Matter The “Strangeness” of our Embodied Experience The Union Human Nature and Cartesian Theodicy The Transition to Ethics.

John Finnis has been a central figure in the development of legal philosophy over the past half-century. This volume of his Collected Essays shows the full range and power of his contributions to core problems in the philosophy of law: the foundations of law's authority; legal reasoning; constitutional theory; and the logic of law-making.

This paper raises obvious questions undermining any residual confidence in Mates work and revealing our embarrassing ignorance of true nature of Stoic deduction. It was inspired by the challenging exploratory work of JOSIAH GOULD.

Dr.Beitchman has created a variety, a plethora of interconnections and links and lines that connect many seemingly unconnectable literary elements and forms. Take for example the two political chapters...the first Shakespeare's King John and the last Jean Baudrillard's vision of 9/11; both deal with periods of crisis and loss of confidence/credibility of and in society conjuring a derangement that has become a syndrome. Drugs and literature connect Coleridge and Burroughs/ Kublai Khan and Naked Lunch and they in turn (...) connect with Platonism and the Russian Symbolist Theatre of the 20th century; Cabala obtrudes on the French writers discussed and the otherworldly ambiance of Villier's play Axel. And so the component essays and approaches play of against each other and enrich our view of a literature that transcends rather than merely compares. (shrink)

SPECIAL INTRODUCTORY PRICE! Daniel Dennett has been one of the central voices in the philosophy of mind for at least the past forty years. Unlike most philosophers of his generation, Dennett’s work has resonated far and wide. It has powerfully influenced the development of cognitive science, robotics, developmental psychology, and artificial intelligence. Indeed, his work has led to many new lines of inquiry. For example, he has developed a theory of consciousness which provides an approach to naturalizing mind which circumvents (...) many of the most significant philosophical arguments against the possibility of a scientific explanation of consciousness. The daunting quantity of literature available on Dennett makes it difficult to discriminate the useful from the tendentious, superficial, and otiose. Moreover, because no comparable philosopher has had a profound impact across such a wide range of disciplines and on intellectual culture in general, responses to Dennett’s philosophy are dispersed across a broad range of scientific, philosophical, and cultural domains. That is why this new title in the highly regarded Routledge series, Critical Assessments of Leading Philosophers, is so urgently needed. Edited by John Symons, this new Routledge Major Work is a four-volume collection of the best scholarship on Dennett; the collected materials have been carefully selected from a wide range of academic journals, edited collections, research monographs, and other sources. The tightly focused organization of this collection allows users quickly and easily to access both established and cutting-edge assessments of Dennett’s work. The set is also made for irresistible browsing. With comprehensive introductions to each volume, providing essential background information and relating the various works to each other, Daniel Dennett is destined to be an indispensable resource for research and study. (shrink)

I think "schizo-culture" here is being used rather in a special sense. Not referring to clinical schizophrenia, but to the fact that the culture is divided up into all sorts of classes and groups, etc., and that some of the old lines are breaking down. And that this is a healthy sign. -- William Burroughs, from _Schizo-Culture_ The legendary 1975 "Schizo-Culture" conference, conceived by the early Semiotext collective, began as an attempt to introduce the then-unknown radical philosophies of post-'68 (...) France to the American avant-garde. The event featured a series of seminal papers, from Deleuze's first presentation of the concept of the "rhizome" to Foucault's introduction of his _History of Sexuality_ project. The conference was equally important on a political level, and brought together a diverse group of activists, thinkers, patients, and ex-cons in order to address the challenge of penal and psychiatric institutions. The combination proved to be explosive, but amid the fighting and confusion "Schizo-Culture" revealed deep ruptures in left politics, French thought, and American culture. The "Schizo-Culture" issue of the Semiotext journal came three years later. Designed by a group of artists and filmmakers including Kathryn Bigelow and Denise Green, it documented the chaotic creativity of an emerging downtown New York scene, and offered interviews with artists, theorists, writers, and No Wave and pre-punk musicians together with new texts from Deleuze, Foucault, R. D. Laing, and other conference participants. This slip-cased edition includes _The Book: 1978_, a facsimile reproduction of the original Schizo-Culture publication; and _The Event: 1975_, a previously unpublished and comprehensive record of the conference that set it all off. It assembles many previously unpublished texts, including a detailed selection of interviews reconstructing the events, and features Félix Guattari, William Burroughs, Kathy Acker, Michel Foucault, Sylvère Lotringer, Guy Hocquenghem, Gilles Deleuze, John Rajchman, Robert Wilson, Joel Kovel, Jack Smith, Jean-François Lyotard, Ti-Grace Atkinson, François Peraldi, and John Cage. (shrink)

ArgumentThe paper explores the use of Freud's methods of dream interpretation by four English writers of the early twentieth century: T. H. Pear, W. H. R. Rivers, Ernest Jones, and Alix Strachey. Each employed their own dreams in rather different ways: as part of an assessment of Freud's work as a psychological theory, as illustrative of the cogency of Freud's method and theories as part of the psychoanalytic process. Each adopted different approaches to the question of privacy and decorum. The (...) paper argues that assessment of the impact of Freud's work must take account of the application of the method to the researcher's own dreams and the personal impact this process of analysis had upon them, and must also gauge how the dreamers' deployment of Freud's methods influenced their explicit relationship to him and his theories.The dream, then, is the chief gate by which we can enter into the knowledge of the unconscious…. Thoughts and desires, which, if they attempted to dominate consciousness in waking life, would be promptly suppressed, arise, develop and expand to an astonishing extent in the dream.This statement, of course, is entirely independent of the implications of any one “theory of dreams.” Its truth is evident to anyone who has honestly recorded or considered his own dreams for even a short period. (shrink)

Well and Good presents a combination of "classic" and little-known but real-life cases. Included are a range of cases involving nurses and other health professionals as well as many involving doctors. The cases in the main body of the book are accompanied by the editors' impartial discussions of the issues involved. The final section is comprised of unanalysed cases for further study. For the new edition, the introduction has been expanded to include discussions of feminist bioethics and of virtue ethics, (...) alongside the Kantian, Rossian and utilitarian frameworks discussed in previous editions. Most of the existing cases have been updated to reflect these additional foci, and four analysed cases have been added. Several cases have been added to the group of unanalysed cases, which now includes questions for discussion. Among cases new to this edition are the "mercy killing" case of Robert Latimer, the assisted suicide of Sue Rodriguez, the pregnancy solvent-abuse case of Ms. G., and a case involving sex-selection and abortion on gender grounds. (shrink)

In this 2nd edition, John Gray adds an extensive postscript which defends the interpretation of Mill set out in the first edition, but develops radical criticisms of the substance of Millian and other liberalism.

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

Professor Yolton delves into John Locke 's most important work, the Essay Concerning Human Understanding.