В книге анализируются проблемы творчества с позиции новейших достижений когнитивной науки и неклассической эпистемологии. Предназначено специалистам по философии.

Despite the bad reputation of the legal profession, law remains king in America. A highly diverse society relies on the laws to maintain a working sense of the dignity and inviability of each individual. And a persistent element in contemporary debates is the fear that naturalistic theories of the human person will erode our belief that we have a dignity greater than that of other natural objects. Thus the endurance of the creation vs. evolution debate is due less to the (...) arguments of creationists, or to the continued influence of the book of Genesis, than to the reading of the evidence provided by Phillip E. Johnson of the University of California, Berkeley, Law School. (shrink)

Introductory essay, translation, updating and bibliography.

I was recently asked to report on editorial trends in the Hastings Center Report, past and future. What I reported is that HCR has been going in two seemingly contrasting directions. One has to do with moral decision‐making in clinical ethics—the core theme in bioethics for fifty years, but still developing. A second editorial trend is treatment of larger social and political issues that bear on health, such as public health interventions and access to health care. I could also have (...) noted a continuing stream of pieces on emerging technologies, from whole‐genome screening for newborns to artificial intelligence in clinical diagnoses to the so‐called de‐extinction of extinct animals and plants through various genetic and reproductive tricks. This January‐February 2019 issue of HCR reflects all these trends. (shrink)

The financial Crunch of 2008 was easily explained by both the left and right–too easily. Each insisted that events thoroughly confirmed its own long-held views and utterly refuted those of the opposed camp. This essay argues that there are indeed new lessons to be drawn from the Crunch, lessons that involve balancing the bounty of the Invisible Hand against perils of the Prisoner's Dilemma. Liberal moral imperatives are traced to variables of Personal Choice and External Cost that are typically in (...) tension with each other and thus generate needs for institutional reconstructions that change according to time and circumstance. Personal bankruptcy protection, limited liability corporations, and intellectual property are cited as examples. It is argued that the Crunch occurred because of failure adequately to balance these variables. Three paradoxes came to a head in 2008: Paradox of Efficient Markets; Paradox of Reduced Risk; Paradox of Hard-won Knowledge. The essay concludes with suggestions concerning specific lessons to be drawn from the Crunch and a corresponding list of lessons not to be drawn. (shrink)

O estudo em questão tem por objetivo analisar a Lei 9099/95, que instituiu os Juizados Especiais Cíveis na Justiça Estadual, no que diz respeito aos seus limites e potencialidades discutidos a partir da principiologia proposta pela citada Lei em um viés jurídico-filosófico. Observar-se-á para tanto a Teoria do Discurso enquanto arcabouço procedimental capaz de potencializar a observância na prática de uma justiça mais célere, simples, informal, econômica e baseada na oralidade. Para tanto aplicar-se-á a interpretação do pensamento de Jürgen Habermas (...) e de Robert Alexy em conjunto a autores tradicionais do Direito com o objetivo de se avaliar se o pensamento dogmático se encontra superado ou ainda se apresenta como um entrave para que os princípios, que a Lei atribui a condição de Critérios Orientadores dos Juizados Especial Cíveis, sejam observados na realidade fática. (shrink)

Il presente studio si pone in ideale continuità con l’opera di Marcello Gigante Nomos Basileus, analisi fondamentale della nascita e delle interrelazioni tra diritto naturale, diritto divino e diritto positivo nel mondo greco, prendendo le mosse proprio dal punto in cui questi aveva interrotto la sua indagine, ossia sulle concezioni platoniche del nomos e le sue connessioni con il divino, l’anima e l’educazione. In Platone sono rintracciate le premesse teoretiche della concezione, poi diffusa in età ellenistica, imperiale e tardo-antica, e (...) solitamente attribuita agli stoici, del sovrano come nomos empsychos legge incarnata, fonte del diritto positivo in quanto è legge esso stesso. In Platone esiste uno stretto rapporto tra diritto naturale, diritto divino e diritto positivo: che il nomos empsychos sia espressione della legge di natura risulta dal principio platonico secondo cui natura è per l’uomo l’anima e principalmente la dimensione intellegibile e divina che è in essa. I governanti degni promulgano leggi positive che scaturiscono dalla loro anima divina: così può essere garantito il fondamento divino e naturale delle leggi positive. -/- . (shrink)

John E. Smith; XI—Radical Empiricism, Proceedings of the Aristotelian Society, Volume 65, Issue 1, 1 June 1965, Pages 205–218, https://doi.org/10.1093/aristotel.

It is a thankless task to have to reply to Professor Murray Krieger’s “Retrospective.” Qui s’excuse, s’accuse, and since I cannot ask my readers to embark on their own retrospective of my writings and test them for consistency, I have little chance of restoring my reputation in their eyes. Hence I would have been happier to leave Professor Krieger to his agonizing, if he did not present himself the “spokesman” for a significant body of theorists who appear to have acclaimed (...) my book on Art and Illusion without ever having read it. The followers of this school of criticism—of which Professor Krieger is a prominent member—had apparently convinced themselves that the book lent support to an aesthetics in which the notions of reality and of nature had no place. They thought that I had subverted the old idea of mimesis and that all that remained were different systems of conventional signs which were made to stand for an unknowable reality. True, professor Krieger admits that I never endorsed such an interpretation of my views, and he even concedes that there are passages in Art and Illusion which contradict such an out-and-out relativism, but he wants to convince his readers that these contradictions lead precisely to the ambiguities he now proposes to analyse.If he were right that the book encourages such a misreading, all I could do would be to express my regrets for having failed to make myself sufficiently clear. Luckily I can draw comfort from the fact that unlike these literary critics, the leading archaeologist of this country, Professor Stuart Piggott, had no difficulty at all in discerning my meaning and profiting from my arguments. In his Walter Neurath Memorial Lecture of 1978, entitled Antiquity Depicted: Aspects of Archaeological Illustration, the author did me the honour of taking a statement from my book as his starting point. It is the passage at the end of part I in which I recapitulate the content of the first two chapters:What matters to us is that the correct portrait, like the useful map, is an end product on a long road through schema and correction. It is not a faithful record of a visual experience but the faithful construction of a relational mode.Neither the subjectivity of vision nor the sway of conventions need lead us to deny that such a model can be constructed to any required degree of accuracy. What is decisive here is clearly the word “required.” The form of a representation cannot be divorced from its purpose and the requirements of the society in which the given visual language gains currency.1 1. E. H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, A. W. Mellon Lectures in the Fine Arts, 1956 , p. 90. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, and, most recently, Tributes. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future and “Standards of Truth: The Arrested Image and the Moving Eye”. (shrink)

[E.H. Gombrich wrote on May 13, 1975:] . . . I recently was invited to talk about "Art" at the Institution for Education of our University. There was a well-intentioned teacher there who put forward the view that we had no right whatever to influence the likes and dislikes of our pupils because every generation had a different outlook and we could not possibly tell what theirs would be. It is the same extreme relativism, which has invaded our art schools (...) and resulted in the doctrine that art could not possibly be taught because only what has been done already can be taught, and since art is creativity it is not possible to teach it. Q.E.D.—I recently asked my history finalists what "Quod erat demonstrandum" means and they did not know. . . . [Quentin Bell responded on May 15, 1975:] . . . Your teacher at the Institute, is he really a relativist? Isn't he a kind of religious zealot? I used to teach school children. With me there was a much better teacher . One day she came into the room where I had been teaching and found a series of the most surprising and beautiful water colours. "What are these?" said she. I explained that they were copies of Raphael made by eleven and twelve year old children. I would have gone on to explain how interested I was by their resemblance, not to Raphael but rather to Simone Martini, for they had all the shapes beautifully right but none of the internal drawing or the sentiment, but I was checked by her look of horror. "You've made them copy from Raphael?" she said. Her expression was exactly that of someone who had been casually informed that that I had committed a series of indecent assaults upon the brats. And in fact in subsequent conversation it appeared that this was very nearly what she did feel. For her, what she called "self expression" was as precious as virginity. E.H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His books include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, Norm and Form, Symbolic Images, The Heritage of Apelles, and In Search of Cultural History. He became a Fellow of the British Academy in 1960, a Commander of the British Empire in 1966, and was knighted in 1972. He is also a trustee of the British Museum and a foreign member of the American Academy of Arts and Sciences and of the American Philosophical Society. His contributions to Critical Inquiry include "Notes and Exchanges" ,"Standards of Truth: The Arrested Image and the Moving Eye" , and, with Quentin Bell, "Canons and Values in the Visual Arts: A Correspondence" . Quentin Bell is professor of the history and theory of art, Sussex University. He has written Virginia Woolf: A Biography, Of Human Finery, Ruskin, Victorian Artists and Bloomsbury. Other contributions to Critical Inquiry are "The Art Critic and the Art Historian" , "Notes and Exchanges" , and "Bloomsbury and 'the Vulgar Passions'". (shrink)

E. Rae Harcum argues that Christians do not have to give up their religious faith to keep the contributions of science. He confronts the relation between the human body and its non-material parts—the mind and spirit—and provides a way of looking at these metaphysical issues.