Many philosophers have worried about what philosophy is. Often they have looked for answers by considering what it is that philosophers do. Given the diversity of topics and methods found in philosophy, however, we propose a different approach. In this article we consider the philosophical temperament, asking an alternative question: what are philosophers like? Our answer is that one important aspect of the philosophical temperament is that philosophers are especially reflective: they are less likely than their peers to embrace what (...) seems obvious without questioning it. This claim is supported by a study of more than 4,000 philosophers and non-philosophers, the results of which indicate that even when we control for overall education level, philosophers tend to be significantly more reflective than their peers. We then illustrate this tendency by considering what we know about the philosophizing of a few prominent philosophers. Recognizing this aspect of the philosophical temperament, it is natural to wonder how philosophers came to be this way: does philosophical training teach reflectivity or do more reflective people tend to gravitate to philosophy? We consider the limitations of our data with respect to this question and suggest that a longitudinal study be conducted. (shrink)

Arguing About Human Nature covers recent debates--arising from biology, philosophy, psychology, and physical anthropology--that together systematically examine what it means to be human. Thirty-five essays--several of them appearing here for the first time in print--were carefully selected to offer competing perspectives on 12 different topics related to human nature. The context and main threads of the debates are highlighted and explained by the editors in a short, clear introduction to each of the 12 topics. Authors include Louise Anthony, Patrick Bateson, (...) David Buller, John Dupre, Paul Griffiths, Sally Haslanger, Richard Lewontin, Ron Mallon, and E.O. Wilson. Contributors Rachel Cooper, Nancy Holmstrom, Kim Sterelny, and Elizabeth Cashdan provide brand new chapters in these debates. Suggested Reading lists offer curious readers new resources for exploring these debates further. A rguing About Human Nature is the first volume of its kind, designed to introduce to an interdisciplinary student audience some of the most important arguments on the subject generated by scientific research and philosophical reflection. (shrink)

« La bête cartésienne, remarque Richard Stalnaker dans une monographie récente (Stalnaker 2008), est une hydre qui ne se laisse pas tuer. Wittgenstein, Ryle, Quine, Sellars, Davidson (sans même mentionner Heidegger) ont peut-être coupé quelques têtes, mais elles ne cessent de repousser. Descartes n’est plus le croquemitaine qu’il était. » Qu’on le déplore, comme Stalnaker, ou que l’on s’en réjouisse, force est de constater que Descartes continue d’être cité, invoqué, critiqué dans la plu...

In his essay “Painting Memories” , Michael Fried identifies memory as the privileged thematic that structures Charles Baudelaire’s Salon of 1846. But he then limits his investigation of this topic by focusing on the representation of “past” art, to the exclusion of the recollection of “past” experience. Fried thus isolates the theme of memory from the dialectic of life and art that characterizes its performance for Baudelaire. Such selective analysis not only reverses Baudelaire’s priorities but deflects his pointed comments on (...) modernity and naiveté, which in turn inform the example of Edouard Manet, Fried’s exemplary modernist painter. One wonders whether too much of Baudelaire and Manet is lost to this view. Perhaps the predilections of contemporary criticism have sanctioned Fried’s approach. For today we hesitate to ground art in experience, preferring to conceive of representations as signs fully engendered by and engendering other signs. Baudelaire was of a different mind; he lived through the dawning of our own age, but also in the fading light of another. He was heir to a tradition that regarded the forms of art as powerfully motivated by the experience of internalized ideas and sensations; for him, a master artist’s “signs” would appear more symbolic than allegorical, more immediate than mediated or distanced. As we deny artistic signs motivation in extralinguistic “experience,” we aggravate that perennial problem of origins which Fried himself invokes. It might be reformulated in this manner: all painting depends on a lineage of antecedent painting; yet, to succeed, a new work must transcend its filial bondage, as it compounds the effect of the “original” in its own originality. Vexation follows from this issue of the artistic source. Since memories of past art make possible the very creation of art, the creative event cannot assume priority over memory. And the matter of primordial memory, like the matter of an absolutely original art, is aporia. Fried does not pursue this matter ; but the question necessarily implies that both representations and memories, in constituting the “past,” must always be distanced. Distanced not from the present, which they enter and likewise constitute, but from those “original” experiential moments they purport to present. Richard Schiff is associate professor of art at the University of North Carolina at Chapel Hill. He is the author of Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art and is currently working on a study of modernism in relation to classicism and a related study of photographic realism. His previous contributions to Critical Inquiry are “Seeing Cézanne” , “Art and Life: A Metaphoric Relationship” , and, with Carl Pletsch, “History and Innovation”. (shrink)

In the remainder of this article, we will disarm an important motivation for epistemic contextualism and interest-relative invariantism. We will accomplish this by presenting a stringent test of whether there is a stakes effect on ordinary knowledge ascription. Having shown that, even on a stringent way of testing, stakes fail to impact ordinary knowledge ascription, we will conclude that we should take another look at classical invariantism. Here is how we will proceed. Section 1 lays out some limitations of previous (...) research on stakes. Section 2 presents our study and concludes that there is little evidence for a substantial stakes effect. Section 3 responds to objections. The conclusion clears the way for classical invariantism. (shrink)

It is common in various quarters of philosophy to derive philosophically significant conclusions from theories of reference. In this paper, we argue that philosophers should give up on such 'arguments from reference.' Intuitions play a central role in establishing theories of reference, and recent cross-cultural work suggests that intuitions about reference vary across cultures and between individuals within a culture (Machery et al. 2004). We argue that accommodating this variation within a theory of reference undermines arguments from reference.

Since Socrates, and through Descartes to the present day, the problems of self-knowledge have been central to philosophy's understanding of itself. Today the idea of ''first-person authority''--the claim of a distinctive relation each person has toward his or her own mental life--has been challenged from a number of directions, to the point where many doubt the person bears any distinctive relation to his or her own mental life, let alone a privileged one. In Authority and Estrangement, Richard Moran argues (...) for a reconception of the first-person and its claims. Indeed, he writes, a more thorough repudiation of the idea of privileged inner observation leads to a deeper appreciation of the systematic differences between self-knowledge and the knowledge of others, differences that are both irreducible and constitutive of the very concept and life of the person.Masterfully blending philosophy of mind and moral psychology, Moran develops a view of self-knowledge that concentrates on the self as agent rather than spectator. He argues that while each person does speak for his own thought and feeling with a distinctive authority, that very authority is tied just as much to the disprivileging of the first-person, to its specific possibilities of alienation. Drawing on certain themes from Wittgenstein, Sartre, and others, the book explores the extent to which what we say about ourselves is a matter of discovery or of creation, the difficulties and limitations in being ''objective'' toward ourselves, and the conflicting demands of realism about oneself and responsibility for oneself. What emerges is a strikingly original and psychologically nuanced exploration of the contrasting ideals of relations to oneself and relations to others. (shrink)

Since Socrates, and through Descartes to the present day, the problems of self-knowledge have been central to philosophy's understanding of itself. Today the idea of ''first-person authority''--the claim of a distinctive relation each person has toward his or her own mental life--has been challenged from a number of directions, to the point where many doubt the person bears any distinctive relation to his or her own mental life, let alone a privileged one. In Authority and Estrangement, Richard Moran argues (...) for a reconception of the first-person and its claims. Indeed, he writes, a more thorough repudiation of the idea of privileged inner observation leads to a deeper appreciation of the systematic differences between self-knowledge and the knowledge of others, differences that are both irreducible and constitutive of the very concept and life of the person. Masterfully blending philosophy of mind and moral psychology, Moran develops a view of self-knowledge that concentrates on the self as agent rather than spectator. He argues that while each person does speak for his own thought and feeling with a distinctive authority, that very authority is tied just as much to the disprivileging of the first-person, to its specific possibilities of alienation. Drawing on certain themes from Wittgenstein, Sartre, and others, the book explores the extent to which what we say about ourselves is a matter of discovery or of creation, the difficulties and limitations in being ''objective'' toward ourselves, and the conflicting demands of realism about oneself and responsibility for oneself. What emerges is a strikingly original and psychologically nuanced exploration of the contrasting ideals of relations to oneself and relations to others. (shrink)

Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the (...) part they play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century. (shrink)

This volume collects a number of important and revealing interviews with Richard Rorty, spanning more than two decades of his public intellectual commentary, engagement, and criticism. In colloquial language, Rorty discusses the relevance and nonrelevance of philosophy to American political and public life. The collection also provides a candid set of insights into Rorty's political beliefs and his commitment to the labor and union traditions in this country. Finally, the interviews reveal Rorty to be a deeply engaged social thinker (...) and observer. (shrink)

Does the Ship of Theseus present a genuine puzzle about persistence due to conflicting intuitions based on “continuity of form” and “continuity of matter” pulling in opposite directions? Philosophers are divided. Some claim that it presents a genuine puzzle but disagree over whether there is a solution. Others claim that there is no puzzle at all since the case has an obvious solution. To assess these proposals, we conducted a cross-cultural study involving nearly 3,000 people across twenty-two countries, speaking eighteen (...) different languages. Our results speak against the proposal that there is no puzzle at all and against the proposal that there is a puzzle but one that has no solution. Our results suggest that there are two criteria—“continuity of form” and “continuity of matter”— that constitute our concept of persistence and these two criteria receive different weightings in settling matters concerning persistence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 14-30 [Access article in PDF] Mallarmé Contra Wagner Eric Gans I In early 1885, Edouard Dujardin wrote to Stéphane Mallarmé for a contribution to his newly founded Revue wagnérienne. Mallarmé, admitting that he had never seen--and perhaps never heard--anything of Wagner, replied to Dujardin in July that he was working on a "half article, half prose poem," and that "never has anything seemed (...) to me more difficult." 1 A month later, the Revue published a text, more prose poem than article, entitled "Richard Wagner, rêverie d'un poète français." 2Wagner was an increasingly obligatory reference for the French avant-garde after his death in 1883. But as far back as 1862, the 20-year-old Mallarmé, no doubt influenced by Baudelaire's enthusiastic groundbreaking article "Richard Wagner et Tannhäuser à Paris" of the year before, had included Wagner along with Mozart and Beethoven in a group of three creators of the "mystery" of music, in a brief article entitled "Artistic Heresies: Art for Everyone." Characteristically enough, what fascinated the young Mallarmé was not music itself so much as the "signes sévères, chastes, inconnus" ("severe, chaste, unknown signs") (OC, p. 257) with which it was written, which give music the advantage over poetry--written in the universally understood alphabet--of being inaccessible to the uninitiated. This characteristic emphasis on writing over sound reappears in the "Hommage" sonnet for Wagner published in Dujardin's journal in January 1886, where Wagner's music is described as "mal tu par l'encre même en sanglots sibyllins" ("badly silenced by the ink itself in Sibylline sobs") (OC, p. 71). As we shall see, however, the relation between music and poetry suggested in "Art for Everyone" had by then been reversed. [End Page 14]Unlike most of his circle, Mallarmé was no Wagnerite; his "Rêverie," like his sonnet, expresses reluctant praise and reflects a certain professional jealousy. The theater had long been Mallarmé's chief preoccupation, as it had been for so many nineteenth-century writers who would be forced to make their reputation in other genres. The unfinished poem "Hérodiade," which occupied him throughout his life, took the form of a drama, and an early version of the "Après-midi d'un faune" had actually been presented to a theater director. References to music in Mallarmé's writings increase in number and specificity after 1885, and it is not unreasonable to assume that for him the prime representative of "music" in this period was Wagner. However much Mallarmé's own theater had become internalized and idealized, Wagner's theatrical success, as well as his near-deification by friends and disciples like Dujardin or Villiers de l'Isle-Adam, could not leave the poet indifferent. II What I would like to explore, however, is something more fundamental than the personal equation. Mallarmé's rivalry with Wagner over the theatrical center of culture is the rivalry of two arts and their respective means. What makes Mallarmé's critique of Wagner of particular interest is the exemplary rigor of the former's artistic intentions. Mallarmé's poems are a series of attempts to produce literary form with a minimum of figural content. Each poem has been submitted, so to speak, to Ockham's razor. The ultimate aim of this labor may be described as the discovery of the originary scene of poetry itself, the minimal sine qua non of representation, and therefore of humanity. 3 On the contrary, Wagner did not shrink from saturating the figural imagination in the pursuit of his totalizing aims. The confrontation reveals that musical maximalism in the service of national myth becomes a threat to what we may call, from Mallarmé's minimalist perspective, the anthropological mission of true art.Mallarmé held no particular brief for the theater of words; his tastes in performance went rather to the ballet, or to the mime-show, the subject of one of his most aesthetically interesting reflections. 4 Mallarmé anticipated 20th-century dramaturgy in seeing the theater not as a place for ratiocination and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 14-30 [Access article in PDF] Mallarmé Contra Wagner Eric Gans I In early 1885, Edouard Dujardin wrote to Stéphane Mallarmé for a contribution to his newly founded Revue wagnérienne. Mallarmé, admitting that he had never seen--and perhaps never heard--anything of Wagner, replied to Dujardin in July that he was working on a "half article, half prose poem," and that "never has anything seemed (...) to me more difficult." 1 A month later, the Revue published a text, more prose poem than article, entitled "Richard Wagner, rêverie d'un poète français." 2Wagner was an increasingly obligatory reference for the French avant-garde after his death in 1883. But as far back as 1862, the 20-year-old Mallarmé, no doubt influenced by Baudelaire's enthusiastic groundbreaking article "Richard Wagner et Tannhäuser à Paris" of the year before, had included Wagner along with Mozart and Beethoven in a group of three creators of the "mystery" of music, in a brief article entitled "Artistic Heresies: Art for Everyone." Characteristically enough, what fascinated the young Mallarmé was not music itself so much as the "signes sévères, chastes, inconnus" ("severe, chaste, unknown signs") (OC, p. 257) with which it was written, which give music the advantage over poetry--written in the universally understood alphabet--of being inaccessible to the uninitiated. This characteristic emphasis on writing over sound reappears in the "Hommage" sonnet for Wagner published in Dujardin's journal in January 1886, where Wagner's music is described as "mal tu par l'encre même en sanglots sibyllins" ("badly silenced by the ink itself in Sibylline sobs") (OC, p. 71). As we shall see, however, the relation between music and poetry suggested in "Art for Everyone" had by then been reversed. [End Page 14]Unlike most of his circle, Mallarmé was no Wagnerite; his "Rêverie," like his sonnet, expresses reluctant praise and reflects a certain professional jealousy. The theater had long been Mallarmé's chief preoccupation, as it had been for so many nineteenth-century writers who would be forced to make their reputation in other genres. The unfinished poem "Hérodiade," which occupied him throughout his life, took the form of a drama, and an early version of the "Après-midi d'un faune" had actually been presented to a theater director. References to music in Mallarmé's writings increase in number and specificity after 1885, and it is not unreasonable to assume that for him the prime representative of "music" in this period was Wagner. However much Mallarmé's own theater had become internalized and idealized, Wagner's theatrical success, as well as his near-deification by friends and disciples like Dujardin or Villiers de l'Isle-Adam, could not leave the poet indifferent. II What I would like to explore, however, is something more fundamental than the personal equation. Mallarmé's rivalry with Wagner over the theatrical center of culture is the rivalry of two arts and their respective means. What makes Mallarmé's critique of Wagner of particular interest is the exemplary rigor of the former's artistic intentions. Mallarmé's poems are a series of attempts to produce literary form with a minimum of figural content. Each poem has been submitted, so to speak, to Ockham's razor. The ultimate aim of this labor may be described as the discovery of the originary scene of poetry itself, the minimal sine qua non of representation, and therefore of humanity. 3 On the contrary, Wagner did not shrink from saturating the figural imagination in the pursuit of his totalizing aims. The confrontation reveals that musical maximalism in the service of national myth becomes a threat to what we may call, from Mallarmé's minimalist perspective, the anthropological mission of true art.Mallarmé held no particular brief for the theater of words; his tastes in performance went rather to the ballet, or to the mime-show, the subject of one of his most aesthetically interesting reflections. 4 Mallarmé anticipated 20th-century dramaturgy in seeing the theater not as a place for ratiocination and... (shrink)

This brief paperback is designed for symbolic/formal logic courses. It features the tree method proof system developed by Jeffrey. The new edition contains many more examples and exercises and is reorganized for greater accessibility.

Richard Cartwright is one of the most clearheaded, astute, and penetrating philosophers in this country. Because of his own strict standards, however, his work has been published only sparingly and is not as well known as he himself is. Philosophical Essays is a welcome first collection. It includes fifteen essays spanning three decades of Cartwright's thought and focusing on central problems in the philosophy of logic, the philosophy of language, and metaphysics. The introduction offers an excellent guide to Cartwright's (...) mode of thought and pedagogical style. Some of these essays are now regarded as classics; six others are published here for the first time. Each of them, from "Macbeth's Dagger" to "Negative Existentials" and "Propositions of Pure Logic" is a model of craftsmanship and clarity of thought. They span a variety of topics, including identity, truths, essence, implication, and philosophical method. Richard Cartwright is Professor of Philosophy and Head of the Department of Linguistics and Philosophy at MIT. (shrink)

Is behavioral integration (i.e., which occurs when a subjects assertion that p matches her non-verbal behavior) a necessary feature of belief in folk psychology? Our data from nearly 6,000 people across twenty-six samples, spanning twenty-two countries suggests that it is not. Given the surprising cross-cultural robustness of our findings, we suggest that the types of evidence for the ascription of a belief are, at least in some circumstances, lexicographically ordered: assertions are first taken into account, and when an agent sincerely (...) asserts that p, non-linguistic behavioral evidence is disregarded. In light of this, we take ourselves to have discovered a universal principle governing the ascription of beliefs in folk psychology. (shrink)

Many proponents of the Harm Principle seem to implicitly assume that the principle is compatible with permitting the free exchange of goods and services, even if such exchanges generate so-called market harms. I argue that, as a result, proponents of the Harm Principle face a dilemma: either the Harm Principle’s domain cannot include a large number of non-market harm cases or market harms must be treated on par with non-market harms. I then go on to discuss three alternative arguments defending (...) the status of market harms as exceptions to the Harm Principle and discuss why these arguments also fail. (shrink)

Baised upon the Tarner Lectures given by Braithwaite in 1946, Scientific Explanation aims to examine the logical features common to all the sciences. Scientific advancement is by means of testing the conclusions of proffered hypotheses by observation and experiment. Braithwaite attempts to explain how the implications of this process may throw light upon seemingly mysterious features of scientific procedure and should resolve many of the fundamentals of scientific procedures, including the function of mathematics, probability, and models in science and the (...) nature of theoretical concepts. (shrink)

The discussion of good and evil must not be confined to the sterile lecture halls of academics but related instead to ordinary human feelings, needs, and desires, says noted philosopher Richard Taylor. Efforts to understand morality by exploring human reason will always fail because we are creatures of desire as well. All morality arises from our intense and inescapable longing. The distinction between good and evil is always clouded by rationalists who convert the real problems of ethics into complex (...) philosophical puzzles. In the first part of Good and Evil, Taylor looks for a more meaningful conception by reexamining and rejecting the whole rationalistic tradition that dominates philosophical ethics. The second part provides an empirical explanation of good and evil, noting that one does not have to look too far to find prime examples of the failure of fixed moral rules. Including important commentary on Joseph Fletcher's groundbreaking situation ethics, and Aristotle's virtues (e.g., magnanimity and pride), Taylor rounds out the book by developing a philosophy of aspiration--personal worth as an ethical ideal--to replace the morality of duty. He offers a modified form of situation ethics to fit the contemporary problems we face. (shrink)

Is behavioral integration a necessary feature of belief in folk psychology? Our data from over 5,000 people across 26 samples, spanning 22 countries suggests that it is not. Given the surprising cross-cultural robustness of our findings, we argue that the types of evidence for the ascription of a belief are, at least in some circumstances, lexicographically ordered: assertions are first taken into account, and when an agent sincerely asserts that p, nonlinguistic behavioral evidence is disregarded. In light of this, we (...) take ourselves to have discovered a universal principle governing the ascription of beliefs in folk psychology. (shrink)

In this essay, I begin with an overview of a traditional account of natural kinds, and then consider David Hull's critique of species as natural kinds and the associated notion of human nature. Second, I explore recent "liberal" accounts of human nature provided by Edouard Machery and Grant Ramsey and criticized by Tim Lewens. They attempt to avoid the criticisms of- fered by Hull. After examining those views, I turn to Richard Boyd's Homeostatic Property Cluster account of natural (...) kinds which is flexible but detailed enough to avoid Hull's criticisms but also those affecting the more recent views. We then consider what I call the "problem of variation." Fourth, I consider two case studies -- the basic emotions and facial expressions and inbreeding avoidance and incest taboos. I argue that the former is a component of a Boydian human nature but the latter is not. The conclusion is that if there is a human nature, it must be argued for on a case-by-case basis. And, one of most discussed cases thought to be part of our nature is simply not. (shrink)

Richard Tuck traces the history of the distinction between sovereignty and government and its relevance to the development of democratic thought. Tuck shows that this was a central issue in the political debates of the seventeenth and eighteenth centuries, and provides a new interpretation of the political thought of Bodin, Hobbes and Rousseau. Integrating legal theory and the history of political thought, he also provides one of the first modern histories of the constitutional referendum, and shows the importance of (...) the United States in the history of the referendum. The book derives from the John Robert Seeley Lectures delivered by Richard Tuck at the University of Cambridge in 2012, and will appeal to students and scholars of the history of ideas, political theory and political philosophy. (shrink)

This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art—crowned by a pioneer study of hip hop—Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel (...) notion of somaesthetics. (shrink)

Realism comes in many varieties, in science and elsewhere. Van Fraassen's influential formulation took scientific realism to include the view that science aims to give us, in its theories, a literally true story of what the world is like. So understood, a quantum realist takes quantum theory to aim at correctly representing the world: many would add that its success justifies believing this representation is more or less correct. But quantum realism has been understood both more narrowly and more broadly. (...) A pragmatist considers use prior to representation and this has prompted some to dub pragmatist views anti-realist, including the view of quantum theory I have been developing recently. But whether a pragmatist view of quantum theory should be labeled anti-realist depends not only on its ingredients but also on how that label should be applied. Pragmatism offers a healthy diet of quantum realism. (shrink)

Integrating the study of human diversity into the human evolutionary sciences requires substantial revision of traditional conceptions of a shared human nature. This process may be made more difficult by entrenched, 'folkbiological' modes of thought. Earlier work by the authors suggests that biologically naive subjects hold an implicit theory according to which some traits are expressions of an animal's inner nature while others are imposed by its environment. In this paper, we report further studies that extend and refine our account (...) of this aspect of folkbiology. We examine biologically naive subjects' judgments about whether traits of an animal are 'innate', 'in its DNA' or 'part of its nature'. Subjects do not understand these three descriptions to be equivalent. Both innate and in its DNA have the connotation that the trait is species-typical. This poses an obstacle to the assimilation of the biology of polymorphic and plastic traits by biologically naive audiences. Researchers themselves may not be immune to the continuing pull of folkbiological modes of thought. (shrink)

Jacques Derrida, one of the most influential, controversial and complex thinkers of our time, has come to be at the centre of many political debates. This is the first book to consider the political implications of Derrida's deconstruction. It is a timely response both to Derrida's own recent shift towards thinking about the political, and to the political focus of contemparary Continental philosophy. Richard Beardsworth's study, Derrida and the Political , locates a way of thinking about deconstruction using the (...) tools of political philosophy. Richard Beardsworth has provided students of philosophy, politics and critical theory with a thought-provoking, upper level introduction to Derrida'a work as a political theorist. (shrink)

Jacques Derrida, one of the most influential, controversial and complex thinkers of our time, has come to be at the centre of many political debates. This is the first book to consider the political implications of Derrida's deconstruction. It is a timely response both to Derrida's own recent shift towards thinking about the political, and to the political focus of contemparary Continental philosophy. Richard Beardsworth's study, _Derrida and the Political_, locates a way of thinking about deconstruction using the tools (...) of political philosophy. Richard Beardsworth has provided students of philosophy, politics and critical theory with a thought-provoking, upper level introduction to Derrida'a work as a political theorist. (shrink)

Taking Aristide Zolberg and Long Litt Woon's now classic article, "Why Islam is Like Spanish," as its point of departure, this paper elaborates on the social boundary concepts introduced there and argues that these ideas offer new insight into the processes leading to fundamental ethno-racial change. The boundary concepts allow us to move beyond the static, one-directional concept of assimilation inherited from a previous era. They also help us to understand the conditions under which a majority group may tolerate the (...) large-scale assimilation of minorities. These revised understandings alert us to the potential for boundary change that is entailed in coming demographic shifts, in particular the departure of the baby boom from the labor market in the U.S. (shrink)

The reputation and influence of Emmanuel Levinas has grown powerfully. Well known in France in his lifetime, he has since his death become widely regarded as a major European moral philosopher profoundly shaped by his Jewish background. A pupil of Husserl and Heidegger, Levinas pioneered new forms of exegesis with his post-modern readings of the Talmud, and as an ethicist brought together religious and non-religious, Jewish and non-Jewish traditions of contemporary thought. Richard A. Cohen has written a book which (...) uses Levinas' work as its base but goes on to explore broader questions of interpretation in the context of text-based ethical thinking. Levinas' reorientation of philosophy is considered in critical contrast to alternative contemporary approaches such as those found in modern science, psychology, Nietzsche, Freud, Husserl, Heidegger, Sartre, Merleau-Ponty, Derrida and Ricoeur. Cohen explores a manner of philosophizing which he terms 'ethical exegesis'. (shrink)

There has been in recent years a plethora of defences of theism from analytical philosophers: Richard Gale's important book is a critical response to these writings. New versions of cosmological, ontological, and religious experience arguments are critically evaluated, along with pragmatic arguments to justify faith on the grounds of its prudential or moral benefits. In considering arguments for and against the existence of God, Gale is able to clarify many important philosophical concepts including exploration, time, free will, personhood, actuality, (...) and the objectivity of experience. (shrink)

Drawing upon hitherto-unused sources and written in a lively, accessible style, this book represents a shift in the historiography of British education. At the center of the investigation is Joseph Payne, born in humble circumstances in 1808, who in 1873 was appointed to the first professorship in Britain, established by a chartered body of schoolteachers. By that date Payne had acquired a considerable reputation-as the founder of two of the most successful of Victorian private schools; a classroom practitioner of rare (...) skill; the author of bestselling textbooks; a scholar, despite no formal education; and as a leading member of such bodies as the College of Preceptors, the Scholastic Registration Association, the Girls' Public Day School Trust, the Women's Education Union, and the Social Science Association. (shrink)

Richard Shusterman; Aesthetic Experience: From Analysis to Eros, The Journal of Aesthetics and Art Criticism, Volume 64, Issue 2, 18 April 2005, Pages 217–229.

Richard Shusterman; Aesthetic Experience: From Analysis to Eros, The Journal of Aesthetics and Art Criticism, Volume 64, Issue 2, 18 April 2005, Pages 217–229.

Richard Smith; Skills: the middle way, Journal of Philosophy of Education, Volume 21, Issue 2, 30 May 2006, Pages 197–201, https://doi.org/10.1111/j.1467-9752.1.

Representational systems such as language, mind and perhaps even the brain exhibit a structure that is often assumed to be compositional. That is, the semantic value of a complex representation is determined by the semantic value of their parts and the way they are put together. Dating back to the late 19th century, the principle of compositionality has regained wide attention recently. Since the principle has been dealt with very differently across disciplines, the aim of the two volumes is to (...) bring together the diverging approaches. They assemble a collection of original papers that cover the topic of compositionality from virtually all perspectives of interest in the contemporary debate. The well-chosen international list of authors includes psychologists, neuroscientists, computer scientists, linguists, and philosophers. (shrink)

Cosmopolitan theory suggests that we should shift our moral attention from the local to the global. Richard Vernon argues, however, that if we adopt cosmopolitan beliefs about justice we must re-examine our beliefs about political obligation. Far from undermining the demands of citizenship, cosmopolitanism implies more demanding political obligations than theories of the state have traditionally recognized. Using examples including humanitarian intervention, international criminal law, and international political economy, Vernon suggests we have a responsibility not to enhance risks facing (...) other societies and to assist them when their own risk-taking has failed. The central arguments in Cosmopolitan Regard are that what we owe to other societies rests on the same basis as what we owe to our own, and that a theory of cosmopolitanism must connect the responsibilities of citizens beyond their own borders with their obligations to one another"--Provided by publisher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 369-396 [Access article in PDF] Worlds or Words Apart?The Consequences of Pragmatism for Literary Studies:An Interview with Richard Rorty Richard Rorty, with E. P. Ragg ER: I WANTED TO ASK YOU first about holism. Clearly holism doesn't just mean being interdisciplinary. Nor, as you argue in Philosophy and the Mirror of Nature, is it merely a question of antifoundationalist polemic. Rather, you (...) say it marks "a distrust of the whole epistemological enterprise." 1 Could you explain what you mean by that?RR: If you weren't some kind of foundationalist you wouldn't bother to get into epistemology. Epistemology only looks attractive if you think that there is a topic called knowledge whose nature can be studied. The idea is that once you have learned its nature, you might get more of it than you had before. Only someone who thinks that knowledge has foundations located in sense perception, or pure reason, or divine revelation, or something, would take the idea of studying knowledge, its nature and limits, seriously. I think of holism as just the view that people change their beliefs in such a way as to achieve coherence with their other beliefs, to bring their beliefs and desires into some sort of equilibrium—and that that is about all there is to be said about the quest for knowledge. There are no rules for which beliefs you sacrifice in order to accommodate other beliefs, or which desires you change to accommodate changed beliefs. Because there aren't any rules, there aren't any methods you can study in order to improve the way you achieve equilibrium. The whole idea of studying how belief is changed is pretty hopeless. It's just too holistic a process to be an appropriate topic of study. [End Page 369]ER: Holism is obviously a natural corollary of pragmatism because pragmatists urge bringing as many different useful vocabularies to discussion as we can. This reminds me of your definition of "literariness." In Contingency, irony, and solidarity you describe literary skill as the ability to effect "surprising gestalt switches by making smooth rapid transitions from one terminology to another." 2 Would it be fair to say, then, that thinking holistically is, to some degree, literary?RR: No, I don't think so. It would be more appropriate to say thinking holistically, in the sense of not being limited to a given context or disciplinary framework, is a matter of thinking imaginatively. Politicians and theologians and engineers think imaginatively just as much as literary people do. To call it literary would be unduly to privilege literature.ER: Would you say that, as a writer, your own work has been treated holistically: first in the sense that your texts are seen as a growing body of thought—that is, that there is a difference between the writer of Philosophy and the Mirror of Nature and the author of Contingency, irony, and solidarity—and, second, in the sense that people have thought holistically about your ideas, have brought them to bear on literature, philosophy, social science, the very demarcations you want to transcend?RR: I think that the stuff I do is more interesting to people outside of philosophy than those inside it. This is an example of the same phenomenon that led Kuhn to be much more read by people outside the hard sciences than by people within them. My stuff, like Kuhn's, debunks certain views that various earlier philosophers, especially the positivists, had tried to impose on the culture. My readers are people who are looking for a way out from the view they absorbed, without much liking it, when they were young. People inside of philosophy, however, often regard all this debunking as endangering the problems to the solution of which they have devoted their lives. They do not want the problems dissolved, because that would dissolve their solutions as well. So they welcome it less than do outsiders.ER: One of the markers of your... (shrink)