Arabic logicians in the thirteenth century discussed a set of arguments raised by the theologian Fakhr al-Dīn al-Rāzī (d. 1210) that in some respects closely resembles Carroll’s paradox. Roughly, the paradox states that we can never reach a conclusion from a set of premises without incurring an infinite regress. The present article presents and discusses Rāzī’s formulation of the problem with syllogistic deduction, his own solutions to the problem, and the contributions of Afḍal al-Dīn al-Khūnajī (d. 1248) and Najm al-Dīn (...) al-Kātibī (d. 1276). It is argued that the proposed solutions developed by these authors are best understood as tending in the direction of Gilbert Ryle’s distinction between knowing-that and knowing-how. (shrink)

In Being Another Way, Dustin Klinger recounts the history of how medieval Arabic philosophers in the Islamic East grappled with the logical role of the copula 'to be,' an ambiguity that has bedeviled Western philosophy from Parmenides to the analytic philosophers of today. Working from within a language that has no copula, a group of increasingly independent Arabic philosophers began to critically investigate the semantic role that Aristotle, for many centuries their philosophical authority, invested in the copula as the (...) basis of his logic. Drawing on extensive manuscript research, Klinger breaks through the thicket of unstudied philosophical works to demonstrate the creativity of postclassical Islamic scholarship as it explored the consequences of its intellectual break with the past. Against the still widespread view that intellectual ferment all but disappeared during the period, Klinger shows how these intellectuals over the centuries developed and refined a sophisticated philosophy of language that speaks to core concerns of contemporary linguistics and philosophy. (shrink)

Nazariyat, Journal for the History of Islamic Philosophy and Sciences, issued twice a year in English and Turkish (Nazariyat İslam Felsefe ve Bilim Tarihi Araştırmaları Dergisi), is a refereed international journal. It publishes original studies, critical editions of classical texts and book reviews on Islamic philosophy, kalām, theoretical aspects of Sufism and the history of sciences. The goal of Nazariyat is to contribute to the discovery, examination and reinterpretation of the theoretical traditions in the history of Islamic thought, by giving (...) special attention to the post-classical period of it. **ISSN: 2148-8088 E-ISBN: 2547-9415**. (shrink)

The similarity of documents in a large database of published Fractals articles was examined for redundancy. Three different text matching techniques were used on published Abstracts to identify redundancy candidates, and predictions were verified by reading full text versions of the redundancy candidate articles. A small fraction of the total articles in the database was judged to be redundant. This was viewed as a lower limit, because it excluded cases where the concepts remained the same, but the text was altered (...) substantially. Far more pervasive than redundant publications were publications that did not violate the letter of redundancy but rather violated the spirit of redundancy. There appeared to be widespread publication maximization strategies. Studies that resulted in one comprehensive paper decades ago now result in multiple papers that focus on one major problem, but are differentiated by parameter ranges, or other stratifying variables. This ‘paper inflation’ is due in large part to the increasing use of metrics (publications, patents, citations, etc) to evaluate research performance, and the researchers’ motivation to maximize the metrics. (shrink)

The similarity of documents in a large database of published Fractals articles was examined for redundancy. Three different text matching techniques were used on published Abstracts to identify redundancy candidates, and predictions were verified by reading full text versions of the redundancy candidate articles. A small fraction of the total articles in the database was judged to be redundant. This was viewed as a lower limit, because it excluded cases where the concepts remained the same, but the text was altered (...) substantially.Far more pervasive than redundant publications were publications that did not violate the letter of redundancy but rather violated the spirit of redundancy. There appeared to be widespread publication maximization strategies. Studies that resulted in one comprehensive paper decades ago now result in multiple papers that focus on one major problem, but are differentiated by parameter ranges, or other stratifying variables. This ‘paper inflation’ is due in large part to the increasing use of metrics (publications, patents, citations, etc) to evaluate research performance, and the researchers’ motivation to maximize the metrics. (shrink)

The similarity of documents in a large database of published Fractals articles was examined for redundancy. Three different text matching techniques were used on publisheds to identify redundancy candidates, and predictions were verified by reading full text versions of the redundancy candidate articles. A small fraction of the total articles in the database was judged to be redundant. This was viewed as a lower limit, because it excluded cases where the concepts remained the same, but the text was altered substantially.Far (...) more pervasive than redundant publications were publications that did not violate the letter of redundancy but rather violated the spirit of redundancy. There appeared to be widespread publication maximization strategies. Studies that resulted in one comprehensive paper decades ago now result in multiple papers that focus on one major problem, but are differentiated by parameter ranges, or other stratifying variables. This ‘paper inflation’ is due in large part to the increasing use of metrics (publications, patents, citations, etc) to evaluate research performance, and the researchers’ motivation to maximize the metrics. (shrink)

RésuméPar la nouvelle lecture de Métaphysique Ε2-3 – un morceau de texte toujours manquant une interprétation satisfaisante – qui est proposée ici, l'argument d'Aristote ressort comme une défense de l'indéterminisme se fondant sur une notion solide de l'accident. Les êtres accidentels comme causes noncausées ont leur place légitime dans l'ontologie d'Aristote. L'indéterminisme assez radical qui en résulte est utilisé comme une mise à l’épreuve de la démarche exégétique d'Averroès : Il sera montré que la fidélité proverbiale du Grand Commentateur au (...) texte du Stagirite parfois laisse place à des interprétations idiosyncratiques. Ses explications de Métaphysique Ε2-3 sont plutôt clairsemées et non moins obscures que le texte d'Aristote, mais si on les lit à la lumière de ses commentaires à la Physique, à laquelle il se réfère explicitement deux fois dans son Grand commentaire à Métaphysique Ε2-3, une image surprenante se fait jour. Averroès recycle la notion de l'accident, cette fois conceptualisée en termes cosmologiques, en l'employant contrairement à Aristote dans une théorie originale et idiosyncratique du mouvement qui fait intégrer les domaines supra- et sublunaires dans un seul cadre déterministe des chaines causales ininterrompues, entièrement pénétrable par la providence Divine. (shrink)

This is an excerpt from the contentRecently older people have been the target of filmmakers and marketing campaigns; the concept of the “grey pound” has become a potentially significant attraction encouraging filmmakers to explore issues relating to age and ageing in mainstream films. The recent success of films such as Mamma Mia and The Best Exotic Marigold Hotel have made a significant impact on the box office, and Amour securing the 2013 Palm D’Or at the Cannes Film Festival, proved that (...) an older audience is eager to watch films with mature characters and about issues that are relevant and meaningful to them.Actor Dustin Hoffman chose the play, Quartet by Ronald Harwood, to make his directorial debut. Set in “Beecham House,” a residential home for retired musicians, Hoffman explores brilliantly the diversity of octogenarians. The home is under the threat of closure unless the residents raise a substantial amount of money to keep it open, and their cunning plan to do that is by organizing a charitable evening gala fea. (shrink)

In the Movie Tootsie, The character played by Dustin Hoffman is disguised as a woman and is speaking to a beautiful young actress played by Jessica Lange. During a session of late-night girl talk, Lange's character says, "You know what I wish? That a guy could be honest enough to walk up to me and say, 'I could lay a big line on you, but the simple truth is I find you very interesting, and I'd really like to make (...) love to you.' Wouldn't that be a relief?". (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Mental illness is difficult to reconcile with the Darwinian theory of natural selection. Major psychiatric conditions, such as psychosis and suicidality, often occur in young adults and impair reproductive potential, yet they also appear to be genetically mediated.1 The challenge for evolutionary psychiatry has been to explain not only how such seemingly disadvantageous genes have evaded natural selection, but also how the widespread vulnerability to such conditions ever became established in the human genome in the first place.2In Things Hidden Since (...) the Foundation of the World,3 Girard, with psychiatrist coauthors Oughourlian and Lefort, advanced an account of human evolution in which the scapegoat mechanism... (shrink)

Currently, an emphasis is being placed on the integration of ethical issues into the business curriculum. This paper investigates the viability of using student group interaction to induce an upward movement in the stages of moral development as advanced by Kohlberg. The results of a classroom experiment using graduate business law students suggest that formulating groups that mix stages of moral development can provide a robust environment for upward movement. In addition, the results suggest strategies for formulating effective groups, based (...) upon entry levels as measured by the Defining Issues Test. (shrink)

Guidelines around the world require children to provide assent for their participation in most research studies. Yet, little further guidance is provided on how review committees should implement this requirement, including which children are capable of providing assent and when the requirement for assent may be waived on the grounds that the research offers participating children the potential for important clinical benefit. The present paper argues that the assent requirement is supported by the importance of allowing children who are capable (...) to make their own decisions. This suggests children are capable of assent when they become able to understand the research in question. While development varies across individual children, existing data suggest most children develop this ability by approximately age 14. Until instruments are developed to assess the assent capacity of individual children, this age should be used as the threshold for assent. In addition, the importance of protecting children from harm suggests that the sustained dissent of all children, including those who are unable to provide assent, should be respected. While the assent requirement may be waived when research participation offers the potential for important medical benefit that is unavailable outside the research context, analysis suggests that children’s sustained dissent should be respected in all cases. (shrink)

On se souvient de la formule de Churchill : " La démocratie est le pire des régimes, à l'exception de tous les autres". A l'évidence, nous n " aimons " pas la démocratie. Et pourtant nous sommes tous démocrates... Étrange procès en désamour que celui-là, dont la virulence égale l'ancienneté : toute petite déjà, à Athènes, la démocratie ne manquait pas de détracteurs... Myriam Revault d'Allonnes s'interroge, non pas sur les critiques ou les sarcasmes dont la démocratie est l'objet, mais (...) sur la nature de l'expérience démocratique, travaillée par l'incertitude, le conflit, l'inachèvement, inextricablement liée à ce qui s'oppose à elle et la menace. Comment l'homme démocratique, confronté à cette existence toujours problématique, ne serait-il pas en proie à l'insatisfaction et à la déception permanentes? Cependant, si nous n' "aimons" pas la démocratie, pouvons-nous ne pas la vouloir? Car c'est bien l'expérience démocratique qui fait de nous des sujets éthiques et politiques, des citoyens qui ne veulent pas être ainsi gouvernés : " pas comme ça, pas pour ça, pas par eux ". (shrink)

What is the relation between autonomy, education, and democracy?

Kn. 1. O tvorcheskom puti i ideakh S. N. Bulgakova.

Research that is initiated, designed or funded by sponsor agencies based in countries with relatively high social and economic development, and conducted in countries that are relatively less developed, gives rise to many important ethical challenges. Although clinical trials of HIV vaccines began ten years ago in the US and Europe, an increasing number of trials are now being conducted or planned in other countries, including several that are considered “developing” countries. Safeguarding the rights and welfare of individuals participating as (...) research subjects in developing countries is a priority. In September, 1997, the Joint United Nations Programme on HIV/AIDS embarked on a process of international consultation; its purpose was further to define the important ethical issues and to formulate guidance that might facilitate the ethical design and conduct of HIV vaccine trials in international contexts. This paper summarises the major outcomes of the UNAIDS consultative process. (shrink)

In recent defenses of moral responsibility skepticism, which is the view that no human agents are morally responsible for their actions or character, a number of theorists have argued against Peter Strawson’s (and others’) claim that “the sort of love which two adults can sometimes be said to feel reciprocally, for each other” would be undermined if we were not morally responsible agents. Among them, Derk Pereboom (2001, 2009) and Tamler Sommers (2007, 2012) most forcefully argue against this conception of (...) love. However, in this paper, I plan to defend the claim that there is an essential connection between love and moral responsibility, a thesis I will call love internalism. To begin, I will specify the content and scope of love internalism, and consider ways in which other theorists have attempted to motivate it. I will then consider the various arguments that Pereboom and Sommers advance against love internalism. These arguments, it seems to me, offer us powerful reasons to reject several of the ways in which philosophers have tried to connect moral responsibility to love. Consequently, in light of these criticisms, I will further precisify the content of love internalism. And as we will see, love internalism (as I argue for it) is immune to Pereboom’s and Sommers’ criticisms. Moreover, when its content is sufficiently clarified, love internalism can serve as a plausible premise in an anti-skeptical argument. I thus conclude by arguing that this suitably reformulated statement of love internalism offers a significant challenge to moral responsibility skepticism of the sort Pereboom and Sommers endorse. (shrink)

Cambrai, Bibl. munic. 940, ff. 1-59 [integralement reproduit]--Bibl. Vatic. Reg. Lat. 689 A, ff. 334-353.--Bibl. Vatic. Reg. Lat. 1653, ff, 1v-2v (feuilles de garde), ff. 3r, 29r-35r.--Pièces justificatives.

Is von Glasersfeld's constructivism actually radical? In this article, I respond to this question by analyzing von Glasersfeld's main works. I argue that the essential theoretical move of radical constructivism – namely the assertion that reality is the construction of a human mind that only responds to the subjective perception of ‘what fits’ – results in a conservative vision of reality, knowledge, and education. To the extent that the friction with, and the challenge of, reality is eliminated, knowledge remains only (...) a subjective affair and the world is reduced to a living tautology. In this way, von Glasersfeld constructs a theory of ethical disengagement in which personal responsibility is de facto denied. Thus, to the extent that education entails responsibility, change, and comparison, radical constructivism is a theory that is unsuitable for education. I also attempt to argue that the equivalence between radical constructivism and relativism and nihilism that many support is i.. (shrink)

The present volume collects contributions which contextualize Fichte’s theory of image in various respects, focusing on its relation to pre-modern theories of image, its changing role in the development of Fichte’s thinking and its place within Fichte’s foundation of philosophy in the area between theory of truth or validity and ontology. Der vorliegende Band versammelt Beiträge, die Fichtes Bildtheorie in verschiedenen Hinsichten kontextualisieren, wobei ihr Verhältnis zu prä-modernen Bildtheorien, ihre wechselnde Rolle in der Entwicklung von Fichtes Denken und ihre im (...) Spannungsfeld von Wahrheits- bzw. Geltungstheorie und Ontologie angesiedelte Stellung in Fichtes Grundlegung der Philosophie im Mittelpunkt stehen. (shrink)

The aim of this paper is to offer a phenomenological interpretation of Aristotle’s approach to the sense of touch. The first part of this text deals with the role of touch in De Anima and states the central point of the argument to be developed: to show that touch has an ontological function insofar as it is the condition of possibility for accessing objects as objects. Some methodological considerations are required in order to delineate the overall context in which the (...) present contribution has to be understood. Not dealing with a philological reconstruction, nor with a perspective focusing on the history of philosophy, this text aims at a systematic approach to the question, taking Aristotle as its starting point. (shrink)