An account of what Michael Krausz refers to as “a three tiered structure” within the interpretative process is defended. Starting with the employment of Peircian nomenclature, as employed by Joseph Margolis, artworks and persons - cultural entities - are distinguished from physical entities as tokens of types. But even if culturally emergent entities con be attributed to certain physical atributes in relation to their materiality at the first level of interpretation - the elucidatory - in which such culturally emergent (...) properties are embodied, cultural entities possess certain distinctive Intentional attributes, at a second level of interpretation - thc intentional - not assignable to purely physical properties nor, in the case of artworks such as Van Gogh’s The Potato Eaters, their creator’s intentions. But in order to make sense of Krausz’s notion of “aspectual reverberation” for an individual appreciator, a third level of interpretation is required - the elaborative - in order to make sense of Peirce’s notion not only of the type and token status of a work of art, but its tone, This third elaborative sense of interpretation is then considered in two ways: experientially in terms of what the spectator can bring to an appreciation of an artwork and performatively with respect to an artist’s interpretation of the work in performance, as in dance for example. Possible attacks on this position are then considered. (shrink)

An account of what Michael Krausz refers to as “a three tiered structure” within the interpretative process is defended. Starting with the employment of Peircian nomenclature, as employed by Joseph Margolis, artworks and persons - cultural entities - are distinguished from physical entities as tokens of types. But even if culturally emergent entities con be attributed to certain physical atributes in relation to their materiality at the first level of interpretation - the elucidatory - in which such culturally emergent (...) properties are embodied, cultural entities possess certain distinctive Intentional attributes, at a second level of interpretation - thc intentional - not assignable to purely physical properties nor, in the case of artworks such as Van Gogh’s The Potato Eaters, their creator’s intentions. But in order to make sense of Krausz’s notion of “aspectual reverberation” for an individual appreciator, a third level of interpretation is required - the elaborative - in order to make sense of Peirce’s notion not only of the type and token status of a work of art, but its tone, This third elaborative sense of interpretation is then considered in two ways: experientially in terms of what the spectator can bring to an appreciation of an artwork and performatively with respect to an artist’s interpretation of the work in performance, as in dance for example. Possible attacks on this position are then considered. (shrink)

The goal of this paper is to provide a general discussion about the legitimacy of corporate social responsibility. Given that social responsibility projects entail costs, it is not always obvious under what precise conditions managers will have a responsibility to engage in activities primarily designed to promote societal goals.In this paper we discuss four distinct criteria for evaluating the legitimacy of corporate projects for institutionalizing social responsibility.

Seventeen philosophical thinkers ask: What is creativity? What are the criteria of creativity? Should we assign logical priority to creative persons, processes, or products? How do various forms of creativity relate to different domains of human activity?

Introduction Vv hich interpretation of Beethoven's First Symphony is the single right one: one that strictly adheres to the score or one that does not? ...

Recent years have seen a vigorous revival of interest in relativism - both in support and in opposition. This collection of 21 essays, 16 of which appear in print here for the first time, advances the discussion found in an earlier volume, Relativism: Cognitive and Moral. These present selections focus on philosophical and methodological issues of relativism by exhibiting its varieties and by rehearsing its virtues and vices. The contributions concern relativism in a wide range of practices in the human (...) studies. (shrink)

Two views about the objects of history have traditionally been opposed: the realist, which holds that history is about past actuality: and the constructionist, which holds that history cannot be about a past actuality but rather it is about what survives the materials and procedures of historical research. I shall suggest that both of these views may well agree that, as regards the practice of historical inquiry, an historian is constrained by what survives the materials and procedures of historical research. (...) And this agreement provides the basis for raising questions about the very distinction between the epistemology and the ontology of history. (shrink)

Various issues are characteristically associated with discussions about relativism. The first concerns defining relativism—which is not an easy matter, since there seems to be no clear and well established usage to which one might appeal. Some stipulation is required, though this need not be arbitrary. One may proceed by distinguishing relativism from its putative contrast: absolutism, although defining this latter notion is as difficult as defining the former. Absolutism, however, at least, holds that the truth or the truth value of (...) a proposition is not tied to the contingent conditions of the assertion of truth or truth value. Relativism denies this, holding that some truths or truth values are tied to such contingent conditions. What the nature of this “tie” is, and for what sorts of cases it might obtain, depends upon more precise formulations. Still, relativism is a theory of logic rather than epistemology, though in particular discussions a clear-cut distinction is not easily drawn. Nelson Goodman, for example, claims to be a “radical relativist with restraints,” and his arguments derive from an unwillingness to carry the dispensable burden of a non-nominalist epistemology. Since no “world” independent of our symbol systems is accessible, it cannot function in our cognitive judgements. So, “truth,” for Goodman, turns out to be a feature of the internal relations within symbol systems, a feature explicable after the epistemic limits have been drawn. But one could argue that the burden of carrying a “heavier” epistemology might be worth the effort—not by insisting that an inquiry-independent world is, after all, accessible, but rather along different lines that concern regulative or pretensial considerations. For example, in answer to the general question, “What does the sort of inquiry I am engaged in pretend to do?”, a scientific realist might say, “I, as a scientist, pretend to explain the ‘external’ world.” Questions of pretense arise for all cultural practices, such as art, religion, science, history, philosophy, and so on, as well as for any accounting of them. So, in discussions of relativism we need to be mindful of these distinguishable areas of concern: the logical, the epistemological, and the pretensial. The main thrust of the present treatment concerns the first two, and it asks, What is the status of the logical thesis of relativism and its negate, and how does that relate to the epistemological thesis of foundationalism and its negate? (shrink)

I am honored to have this special issue devoted to themes in my philosophical work. This testimony is especially meaningful to me since I have benefitted so much from numerous meetings of the Society for Philosophy in the Contemporary World. I extend thanks to Joe Jones who proposed the idea to the editorial board, and to Jim Sauer who, as editor, saw it through to its publication. Grateful thanks go to Michael McKenna who, as guest editor, brought the collection together. (...) As well, over the years, McKenna has been for me the best kind of critical yet supportive interlocutor. At an earlier stage Andreea Ritivoi's initiative and encouragement was invaluable. Of course, I extend special thanks to the ten contributors from the United States, England, Germany, and India. To them I offer my replies in the spirit of an on-going discussion about the philosophy of interpretation. (shrink)

This paper suggests certain differences between the interpretation of Indian classical music and the interpretation of Western classical music. In Indian music the work is constituted in the moment of a recital. The performer is the maker of the music. Accordingly, the performer simultaneously produces a work and interprets it. Further, in the Indian tradition. music is a path of “bhakti yoga,” or a path of devotion.

It is generally assumed that common stock investors are exclusively interested in earning the highest level of future cash-flow for a given amount of risk. This view suggests that investors select a well-diversified portfolio of securities to achieve this goal. Accordingly, it is often assumed that investors are unwilling to pay a premium for corporate behavior which can be described as socially-responsible.Recently, this view has been under increasing attack. According to the Social Investment Forum, at least 538 institutional investors now (...) allocate funds using social screens or criteria. In addition, Alice Tepper Marlin, president of the New York-based Council on Economic Priorities has recently estimated that about $600 billion of invested funds are socially-screened (1992). (shrink)

_Seeing the World through Children’s Eyes_ brings an overarching emphasis on ‘seeing’ to early years research and provides an opportunity to see and hear from leading researchers in the field concerning how they work with visual methodologies in their early years research.

Standard models of adolescent risk taking posit that the cognitive abilities of adolescents and adults are equivalent, and that increases in risk taking that occur during adolescence are the result of socio emotional differences in impulsivity, sensation seeking, and lack of self-control. Fuzzy-trace theory incorporates these socio emotional differences. However, it predicts that there are also cognitive differences between adolescents and adults, specifically that there are developmental increases in gist-based intuition that reflects understanding. Gist understanding, as opposed to verbatim-based analysis, (...) generally has been hypothesized to have a protective effect on risk taking in adolescence. Gist understanding is also an essential element of informed consent regarding risks in medical decision- making. Evidence thus supports the argument that adolescents’ status as mature minors should be treated as an exception rather than a presumption, because accuracy in verbatim analysis is not mature gist understanding. Use of the exception should be accompanied by medical experts’ input on the bottom-line gist of risks involved in treatment. (shrink)

The thirty-three essays in <I>Relativism: A Contemporary Anthology</I> grapple with one of the most intriguing, enduring, and far-reaching philosophical problems of our age. Relativism comes in many varieties. It is often defined as the belief that truth, goodness, or beauty is relative to some context or reference frame, and that no absolute standards can adjudicate between competing reference frames. Michael Krausz's anthology captures the significance and range of relativistic doctrines, rehearsing their virtues and vices and reflecting on a spectrum (...) of attitudes. Invoking diverse philosophical orientations, these doctrines concern conceptions of relativism in relation to facts and conceptual schemes, realism and objectivity, universalism and foundationalism, solidarity and rationality, pluralism and moral relativism, and feminism and poststructuralism. Featuring nine original essays, the volume also includes many classic articles, making it a standard resource for students, scholars, and researchers. <B>Table of Contents:</B> Foreword by Alan Ryan Preface Introduction Michael Krausz <B>Part I. Orienting Relativism</B> 1. Mapping Relativisms Michael Krausz 2. A Brief History of Relativism Maria Baghramian <B>Part II. Relativism, Truth, and Knowledge</B> 3. Subjective, Objective, and Conceptual Relativisms Maurice Mandelbaum 4. “Just the Facts, Ma’am!” Nelson Goodman 5. Relativism in Philosophy of Science Nancy Cartwright 6. The Truth About Relativism Joseph Margolis 7. Making Sense of Relative Truth John MacFarlane 8. On the Very Idea of a Conceptual Scheme Donald Davidson 9. Truth and Convention: On Davidson’s Refutation of Conceptual Relativism Hilary Putnam 10. Conceptual Schemes Simon Blackburn 11. Relativizing the Facts Paul A. Boghossian 12. Targets of Anti-Relativist Arguments Harvey Siegel 13. Realism and Relativism Akeel Bilgrami <B>Part III. Moral Relativism, Objectivity, and Reasons</B> 14. Moral Relativism Defended Gilbert Harman 15. The Truth in Relativism Bernard Williams 16. Pluralism and Ambivalence David B. Wong 17. The Relativity of Fact and the Objectivity of Value Catherine Z. Elgin 18. Senses of Moral Relativity David Wiggins 19. Ethical Relativism and the Problem of Incoherence David Lyons 20. Understanding Alien Morals Gopal Sreenivasan 21. Value: Realism and Objectivity Thomas Nagel 22. Intuitionism, Realism, Relativism, and Rhubarb Crispin Wright 23. Moral Relativism and Moral Realism Russ Schafer-Landau <B>Part IV. Relativism, Culture, and Understanding</B> 24. Anti Anti-Relativism Clifford Geertz 25. Solidarity or Objectivity? Richard Rorty 26. Relativism, Power, and Philosophy Alasdair MacIntyre 27. Internal Criticism and Indian Rationalist Traditions Martha C. Nussbaum and Amartya Sen 28. Phenomenological Rationality and the Overcoming of Relativism Jitendra N. Mohanty 29. Understanding and Ethnocentricity Charles Taylor 30. Relativism and Cross-Cultural Understanding Kwame Anthony Appiah 31. Relativism, Persons, and Practices Amélie Oksenberg Rorty 32. One What? Relativism and Poststructuralism David Couzens Hoy 33. Must a Feminist Be a Relativist After All? Lorraine Code List of Contributors Index. (shrink)

Is there a single right interpretation for such cultural phenomena as works of literature, visual artworks, works of music, the self, and legal and sacred texts? In these essays, almost all written especially for this volume, twenty leading philosophers pursue different answers to this question by examining the nature of interpretation and its objects and ideals. The fundamental conflict between positions that universally require the ideal of a single admissible interpretation and those that allow a multiplicity of some admissible interpretations (...) leads to a host of engrossing questions explored in these essays: Does multiplism invite interpretive anarchy? Can opposing interpretations be jointly defended? Should competition between contending interpretations be understood in terms of truth or reasonableness, appropriateness, aptness, or the like? Is interpretation itself an essentially contested concept? Does interpretive activity seek truth or aim at something else as well? Should one focus on interpretive acts rather than interpretations? Should admissible interpretations be fixed by locating intentions of a historical or hypothetical creator, or neither? What bearing does the fact of the historical situatedness of cultural entities have on their identities? The contributors are Annette Barnes, Noël Carroll, Stephen Davies, Susan Feagin, Alan Goldman, Charles Guignon, Chhanda Gupta, Garry Hagberg, Michael Krausz, Peter Lamarque, Jerrold Levinson, Joseph Margolis, Rex Martin, Jitendra Mohanty, David Novitz, Philip Percival, Torsten Pettersson, Robert Stecker, Laurent Stern, and Paul Thom. (shrink)

This volume looks at the symbiotic relationship between the philosophical inquiry into the presuppositions of musical interpretation and the interpretation of particular musical works by musicians. Characteristically, interpreters of music entertain philosophical views about musical interpretation. For example, an interpreter's decision whether to play one or another version of a piece, whether to use one instrument or another, whether to emphasize certain elements, depends in part upon certain convictions of a philosophical nature. An interpreter's resolution of such questions will involve (...) views about what a musical work is--for example, whether it is fully embodied in a score, how strictly all markings should be respected, what pertinence historical research has for interpretations, and how decisive the known or reconstructed intentions of a composer may be. These nineteen previously unpublished essays address a cluster of interrelated questions about the definition, grounds, and nature of musical interpretation. The contributors investigate the aesthetic, cultural, and historical aspects of interpretation as well as fundamental distinctions such as those between a work and its interpretation, musical and non-musical phenomena, and musical meaning and linguistic meaning. (shrink)

This chapter contains sections titled: Abstract Definition General Contrasts between Relativism and Absolutism Reference Frames Domains Levels Values Absolutist Strands a Relativist Might Negate On the Putative Self ‐ Contradiction of Relativism Reach of Reasons Conclusion Bibliography.

The Greater Philadelphia Philosophy Consortium was launched in the early eighties. It began during a particularly lean period in the American economy.

Introducing Dialogic Pedagogy presents some of the ideas of Russian philosopher Mikhail Bakhtin concerning dialogism in a way that will engage and inspire those studying early childhood education. By translating the growing body of dialogic scholarship into a practical application of teaching and learning with very young children, this book provides readers with alternative ways of examining, engaging and reflecting on practice in the early years to provoke new ways of understanding and enacting pedagogy. This text combines important theoretical ideas (...) with a practical application to support practitioners who are keen to promote creativity and agency through ethical self-other relations. It provides unique insights into the amazing world of the youngest child, and offers enriched understandings of the profound impact of adults in their journey of becoming (or bildung). Key points covered include: Investigating dialogic philosophy and its application to early childhood education, with an emphasis on notions of justice, democracy, ethics and answerability Considering the relationship between dialogism and pedagogical approaches Theorising a range of approaches to relevant early childhood practice, as pedagogy This accessible and readable guide offers sound theoretical principles with practical suggestions for early years' settings. The book is supplemented by an extensive online video resource website that will bring these revolutionary ideas to life.. (shrink)

The foundation of the Christian counselling movement -- Christian counselling in the UK -- The aims of Christian counselling -- Integrating psychological and biblical truth -- Sigmund Freud--the founding father of psychotherapy -- The individual psychology of Alfred Adler -- Abraham Maslow--the man with new age tendencies -- Carl Rogers--a man who believed in himself -- Albert Ellis--the aggressive atheist -- The Bible's verdict on psychological 'truth' -- The case against Larry Crabb -- Self-esteem: the secular foundation -- Self-esteem and (...) the Christian counselling movement -- Self-esteem dogma in the light of scripture. (shrink)

The Great Psychotherapy Debate: Models, Methods, and Findings comprehensively reviews the research on psychotherapy to dispute the commonly held view that the benefits of psychotherapy are derived from the specific ingredients contained in a given treatment (medical model). The author reviews the literature related to the absolute efficacy of psychotherapy, the relative efficacy of various treatments, the specificity of ingredients contained in established therapies, effects due to common factors, such as the working alliance, adherence and allegiance to the therapeutic protocol, (...) and effects that are produced by different therapists. In each case, the evidence convincingly corroborates the contextual model and disconfirms the prevailing medical model. (shrink)

In this book, Michael Krausz addresses the concept of interpretation in the visual arts, the emotions, and the self. He examines competing ideals of interpretation, their ontological entanglements, reference frames, and the relation between elucidation and self-transformation. The series _Interpretation and Translation_ explores philosophical issues of interpretation and its cultural objects. It also addresses commensuration and understanding among languages, conceptual schemes, symbol systems, reference frames, and the like. The series publishes theoretical works drawn from philosophy, rhetoric, linguistics, anthropology, religious (...) studies, art history, and musicology. (shrink)

What is truth, goodness, or beauty? Can we really define these concepts without the idea of a frame of reference? In the newest addition to the New Dialogues in Philosophy series, Michael Krausz presents fictional dialogues between four former classmates who hold significantly different views about these questions. As they travel in India, a place with unfamiliar concepts and customs, these four friends debate the rightness of relativism and absolutism. Are these concepts irreconcilable? Might there be a better view (...) that goes beyond both of them? These lively discussions provide students with an accessible introduction to one of the most enduring and far-reaching philosophical problems of our age. (shrink)

Do cultural artifacts admit of only one single admissible interpretation? Or do they admit of several admissible interpretations? If so, do such multiple interpretations arise only in connection with the material world? And what is the relation between such ideals of interpretation and the ontology of their objects? in his searching book, Krausz explores and develops varieties of realism, constructivism, and constructive realism. Finally, Krausz extends the notions of singularism and mutliplism to directional life paths and projects. In (...) the course of his treatment Krausz considers such diverse examples as the paintings of Anselm Kiefer, Cristo's Wrapped Reichstag, Indian burial rites, Hindu and Buddhist soteriologies, as well as middle sized objects and sub-atomic particles. And he considers contributions of such thinkers as John Searle, Nelson Goodman, Rom Harre, Bernard Harrison and Patricial Hanna, Fritz Wallner, Hilary Putnam, Chhanda Gupta, Joseph Margolis, David Norton, and Martha Nussbaum. (shrink)

By way of dialogues, Michael Krausz offers philosophical reflections about his life as a philosopher, artist, and musician. After providing biographical accounts of his years of experience in these areas, he rehearses his views about relativism, interpretation, creativity, and self-realization.

This book presents a fictional dialogue among four former college friends about Oneness and self-realization. News of the sudden death of a relative occasions their discussion. One friend, a devotee of the Advaita or non-duality school of Hindu philosophy, seeks to short-circuit the pain and suffering characteristically associated with anxieties about human mortality. According to her, to be is to be the ultimate ineffable undifferentiated Being, the birthless and the deathless—the One. The other friends, whose philosophical attitudes are broadly pragmatist, (...) relativist, and realist, inquire into her views. While the pragmatist looks to the advaitist for guidance about meditative practices, she does not renounce human existence. She welcomes the joys and satisfactions as well as the burdens and pains of human existence. In turn, the relativist is skeptical about theories that aim to reach beyond one’s historical, cultural or personal frame of reference. On his view, to be is to be in relationship, especially with other human beings. Finally, the realist seeks objective, frame-independent truth. In addition, he holds that the world is comprised of individual objects and their properties. Accordingly, he finds the idea of Oneness to be incomprehensible. (shrink)