This book claims that Aristotle followed an aspect theory of predication.

"On Reduplication is a study of the logical properties of reduplicative propositions, that is, of propositions having qualifications, like 'Christ "qua God is a ...

Jan-Heiner Tück presents a work that explores the sacramental theology, lived spirituality, and Eucharistic poetry of the Church’s doctor communis, St. Thomas Aquinas. Although Aquinas’ Eucharistic poetry has long occupied an important place in the Church’s liturgical prayer and her repertoire of sacred music, the depth of these poems remains hidden until one grasps the rich sacramental theology underlying it. Consequently, Tück first offers a detailed but approachable primer of Aquinas’ theology of the sacraments, before diving deeply into the Angelic (...) Doctor’s theology and poetry of the Eucharist. The Scriptural accounts stand at the heart of the systematic framework developed by Aquinas, and thus significant attention is devoted to showing the harmony between the accounts of Christ’s passion and the detailed exposition of the Summa theologiae. Moreover, the Eucharistic controversies of the ninth and eleventh centuries provide the contrapuntal context in which Aquinas did his thinking, praying, and writing. Not surprisingly, therefore, the response he crafts to these controversies draws upon both speculative powers and contemplative prayer, brought together in the unity of Aquinas’ theology and spirituality. The net result is a twofold treasure for the Church: a careful systematic presentation of Eucharistic theology and the lived devotional expression of the same in the carefully constructed—and now much beloved—stanzas of Pange lingua gloriosi, Lauda Sion, Adoro te devote, etc. By revealing the lively interplay of the saint’s powerful speculative intellect and a heart steeped in love for the Eucharistic Lord, Tück offers a sophisticated exposition of Aquinas’ Eucharistic poetry and the roots it sinks into a wider theological framework. Finally, the contemporary significance and power of Aquinas’ work is drawn out, not only in the rarefied realm of intellectual inquiry but also in the everyday expanse of ordinary life. (shrink)

This volume offers 11 papers that cover the wide spectrum of influences on Rudolf Carnap’s seminal work, Der Logische Aufbau der Welt. Along the way, it covers a host of topics related to this important philosophical work, including logic, theories of order, science, hermeneutics, and mathematics in the Aufbau, as the work is commonly termed. The book uncovers the influences of such neglected figures as Gerhards, Driesch, Ziehen, and Ostwald. It also presents new evidence on influences of well-known figures in (...) philosophy, including Husserl, Rickert, Schlick, and Neurath. In addition, the book offers comparisons of the Aufbau with the work of contemporary scientists such as Weyl and Wiener as well as features new archival findings on the early Carnap.This book will appeal to researchers and students with an interest in the history and philosophy of science, history of analytic philosophy, the philosophy of the Vienna Circle, and the philosophy in interwar Germany and Austria. (shrink)

Taking the possibility of visual argumentation seriously, this essay explores how refutation might proceed. We posit three ways in which images can refute and be refuted in a mixed-media environment: (1) dissection, in which an image is broken down discursively; (2) substitution, in which one image is replaced within a larger visual frame by a different image; and (3) transformation, in which an image is recontextualized in a new visual frame. These strategies are illustrated in an analysis of three American (...) documentary films on abortion. (shrink)

John Calvin claims that the foundation of Scripture is the oracles and visions revealed to the patriarchs, transmitted through countless generations by an oral tradition that faithfully preserved these oracles. The oral tradition of the patriarchs also contains practices not found in written Scripture that are applicable to the church of Calvin day.

There has been considerable debate in the literature about the relative merits of information processing versus dynamical approaches to understanding cognitive processes. In this article, we explore the relationship between these two styles of explanation using a model agent evolved to solve a relational categorization task. Specifically, we separately analyze the operation of this agent using the mathematical tools of information theory and dynamical systems theory. Information-theoretic analysis reveals how task-relevant information flows through the system to be combined into a (...) categorization decision. Dynamical analysis reveals the key geometrical and temporal interrelationships underlying the categorization decision. Finally, we propose a framework for directly relating these two different styles of explanation and discuss the possible implications of our analysis for some of the ongoing debates in cognitive science. (shrink)

Through network diagrams and sustained narrative, sociologist Randall Collins traces the development of philosophical thought from ancient Greece to modern ...

What unites the different studies in this volume is a corpus-based approach, in which various theoretical concepts and categories are applied to, and tested ...

Welchen besonderen Zugang zur Welt bieten literarische Texte? Wie nehmen wir unsere Lebenswelt mit Hilfe von Texten wahr? Und was bedeutet sie uns in dieser Perspektive? Der vorliegende Sammelband geht diesen Fragen systematisch wie historisch nach. Neben Beiträgen zum Verhältnis von lebensweltlichem Wahrnehmen und literarischem Darstellen bietet er eine Reihe von Studien, die dieses Verhältnis an konkreten Beispieltexten von der Antike bis zur Gegenwart untersuchen. Er fragt dabei auch, welche Formen eines Konflikts zwischen lebensweltlicher Wahrnehmung durch Individuen und kulturell-gesellschaftlichen Normen (...) und Verhältnissen literarischen Darstellungen aus verschiedenen Epochen zugrunde liegen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a (...) number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

This is the first philosophical study of artifacts that is book length. In it Randall Dipert develops a theory of what artifacts are and applies it extensively to one of the most complex and intriguing kind of artifacts, art works. He presents his own account of what agents, intentions, and actions are, then uses these notions to clarify what it is for an agent to "make" something. From this starting point, he develops a full theory of artifacts and other (...) artificial things - and, especially, a theory of art works and performances of art works as artifacts. He proposes a theory of nature and of the value of nature as what is essentially nonartificial. Two chapters are devoted to value considerations: merit in artifacts generally, and the evaluation of art works and performance art as artifacts or intentional gestures. Believing that a developed theory of action and philosophy of mind is necessary for a developed aesthetics and philosophy of art, Dipert relies on classical and contemporary research on agency, actions, and intentions, and on the intentionalist theory of mental objects of Brentano and Meinong. Dipert considers artifacts to be physical entities, but he also includes in the definition thoughts, utterances, and performances. This vast category encompasses everyday household objects and tools, streets and edifices, as well as communicative and artistic artifacts. Especially with regard to artistic artifacts, Dipert proposes a theory of expression and communication as actions and extensively discusses the problems of interpreting and recognizing actions, artifacts, and art works. (shrink)

In the popular misconception fostered by blockbuster action movies and best-selling thrillers--not to mention conventional explanations by social scientists--violence is easy under certain conditions, like poverty, racial or ideological hatreds, or family pathologies. Randall Collins challenges this view in Violence, arguing that violent confrontation goes against human physiological hardwiring. It is the exception, not the rule--regardless of the underlying conditions or motivations. -/- Collins gives a comprehensive explanation of violence and its dynamics, drawing upon video footage, cutting-edge forensics, and (...) ethnography to examine violent situations up close as they actually happen--and his conclusions will surprise you. Violence comes neither easily nor automatically. Antagonists are by nature tense and fearful, and their confrontational anxieties put up a powerful emotional barrier against violence. Collins guides readers into the very real and disturbing worlds of human discord--from domestic abuse and schoolyard bullying to muggings, violent sports, and armed conflicts. He reveals how the fog of war pervades all violent encounters, limiting people mostly to bluster and bluff, and making violence, when it does occur, largely incompetent, often injuring someone other than its intended target. Collins shows how violence can be triggered only when pathways around this emotional barrier are presented. He explains why violence typically comes in the form of atrocities against the weak, ritualized exhibitions before audiences, or clandestine acts of terrorism and murder--and why a small number of individuals are competent at violence. (shrink)

Shuford, Albert and Massengill proved, a half century ago, that the logarithmic scoring rule is the only proper measure of inaccuracy determined by a differentiable function of probability assigned the actual cell of a scored partition. In spite of this, the log rule has gained less traction in applied disciplines and among formal epistemologists that one might expect. In this paper we show that the differentiability criterion in the Shuford et. al. result is unnecessary and use the resulting simplified characterization (...) of the logarithmic rule to give novel arguments in favor of it. (shrink)

Die Dilthey-Forschung der letzten Jahre hat Dilthey tendenziell von dem Bild einer rein 'kontinentalen' Philosophie der Hermeneutik des Lebens weggerückt. Vielmehr war sein Wissenschaftsverständnis holistisch und einem umfassenden Erfahrungsbegriff verpflichtet. Statt Geistes- und Naturwissenschaften einander entgegenzusetzen, brachte er eine empiristisch eingestellte akademische Philosophie auf den Weg.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a (...) number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

In this essay we will use mind as the term to designate the totality and manner in which our thoughts take place. We use the term brain to refer to the underlying mechanics, the substrate and the manner in which it supports the operations needed to carry out thoughts.

This book aims to develop a sophisticated understanding of propaganda. It begins with a brief history of early Western propaganda, including Ancient Greek classical theories of rhetoric and the art of persuasion, and traces its development through the Christian era, the rise of the nation-state, World War I, Nazism, and Communism. The core of the book examines the ethical implications of various forms of persuasion, not only hate propaganda but also insidious elements of more generally acceptable communication such as advertising, (...) public relations, and government information, setting these in the context of freedom of expression. Propaganda and the Ethics of Persuasion examines the art of persuasion but it also hopes to establish a "self-defense" resistance to propaganda. As Jacques Ellul warned in 1980, any new technology enters into an already existing class system and can be expected to develop in a way favourable to the dominant interests of that system. The merger of AOL and Time-Warner confirms the likelihood of corporate interests dominating the future of the Internet, but the Internet has also opened up new possibilities for a politically effective counter-culture, as was demonstrated at the meeting of the World Trade Organization in Seattle in late 1999 and numerous similar gatherings since. (shrink)

At the centenary of Frank H. Knight’s Risk, Uncertainty, and Profit (1921), we explore the continuing relevance of Knightian uncertainty to the theory and practice of entrepreneurship. There are three challenges facing such assessment. First, RUP is complex and difficult to interpret. The key but neglected element of RUP is that Knight’s account is not solely about risk and uncertainty as states of nature, but about how an agent’s beliefs about uncertain outcomes and confidence in those beliefs guide their choices. (...) Second, RUP is Knight’s only effort in this area. His subsequent career led elsewhere, so he did not engage with subsequent interpretations of this work. Third, much of the current literature emphasizes that decisions must be different under the two states of nature with a consequent misunderstanding of entrepreneurial agency. This paper addresses each challenge in sequence. First, we explicate Knight’s (1921) approach and explain why that approach is murky. Second, as a complement to Knight’s interpretation, we examine Frank P. Ramsey’s approach to subjective probabilities to help clarify Knight’s murky approach. What links Knight and Ramsey is a shared pragmatism about entrepreneurial agency under uncertainty that depends upon the beliefs about, and confidence in, their judgments of possible outcomes. This Knight-Ramsey approach does not require actor’s behaviors to be determined by the class of uncertain environment (whether risk, uncertainty, or ambiguity) they face. We focus on the response by the entrepreneur to the existence of uncertainty in all its forms. We argue that this reductive account provides a foundation to examine common problems in management, including managerial hubris, the interaction between entrepreneurs and venture capitalists, and the need for experimentation (such as prototyping and market research) in advance of new product and venture launches. Third, we critique current literature that favors epistemic purism about the ontology of risk and uncertainty and ignores Knight-Ramsey pragmatism in meeting uncertainty, such as using formal and informal institutions for uncertainty mitigation. Our account locates Frank Knight’s subtleties in entrepreneurial behavior firmly in the literature on entrepreneurial agency a century later. (shrink)

The central question for this book is whether schools should attempt to cultivate patriotism, and if so why, how, and with what conception of patriotism in mind. The promotion of patriotism has figured prominently in the history of public schooling in the United States, always with the idea that patriotism is both an inherently admirable attribute and an essential motivational basis for good citizenship. It has been assumed, in short, that patriotism is a virtue in its own right and that (...) it is a foundational aspect of civic virtue more generally. Through an integrated historical and philosophical approach, this book demonstrates that there have been many and diverse attempts to cultivate patriotism in public schools in the United States and that they have been predicated on different conceptions of patriotism, citizenship, and learning. In order to assess these assumptions and evaluate the various practices of patriotic education, we address the nature of virtue and the motivational foundations of civic responsibility, and we frame a general approach to the ethics of education. We find that the history of attempts to cultivate patriotism in schools offers both cautionary and positive lessons. We argue that there is a virtuous form of patriotism and that an inclusive and enabling just school community may contribute to its development. Yet, we conclude that patriotism is not a virtue as such. We argue that civic virtue is what schools should aim to cultivate, and that civic education should be organized around three components of civic virtue, namely civic intelligence, civic friendship, and civic competence. We hold that virtuous patriotism is an appropriate responsiveness to a country’s value, and that such responsiveness is part and parcel of civic virtue that is also responsive to what has value beyond one’s own country. The book concludes with a defense of global civic education, arguing that it should promote global civic friendship and cooperation. The book situates its understanding of patriotism in the context of nationalist, populist, and authoritarian movements in the United States and Europe, and it mounts a spirited defense of democratic institutions that should be of interest to anyone concerned about the polarization of public life and future of democracy. (shrink)