The concepts expressed by social role terms such as artist and scientist are unique in that they seem to allow two independent criteria for categorization, one of which is inherently normative. This study presents and tests an account of the content and structure of the normative dimension of these “dual character concepts.” Experiment 1 suggests that the normative dimension of a social role concept represents the commitment to fulfill the idealized basic function associated with the role. Background (...) information can affect which basic function is associated with each social role. However, Experiment 2 indicates that the normative dimension always represents the relevant commitment as an end in itself. We argue that social role concepts represent the commitments to basic functions because that information is crucial to predict the future social roles and role-dependent behavior of others. (shrink)

The aim of this paper is to investigate the function of the aesthetic paradigm of German idealism within Adorno’s thought. In order to do so, I have chosen to focus on the issue of the social significance of the work of art and the role played by the concept of literary material. Adorno’s aesthetics, in fact, can be read as a reinterpretation of the idealist aesthetic model based precisely on a non-idealist notion such as that of aesthetic material.If one is (...) to allow a seemingly brutal simplification, there are two ways to think about the social meaning of literature. One identifies somehow the subject of the text, assesses whether or not this challenges the society from which the literary work stems, and on this ground establishes its social character. According to this perspective, Brecht’s Threepenny Opera and Sciascia’s The Day of the Owl can be seen as socially engaged literature, while Proust’s Recherche cannot, or can only to a lesser extent. The other approach argues instead that any literary work, and in any of its instances, says something about the society in which it takes shape. In this contribution I would like to focus on this latter approach. In particular, I am interested in understanding how literature is connected to society, that is, through which identifiable elements literary works express certain aspects of society. The Hegelian idealistic idea according to which Greek tragedy expresses the constitutive features of Athenian society, and which is found again and again in the authors who in various ways have taken up Hegel’s legacy, is generally accepted as such and valued for the explanatory opportunities it offers. It is my opinion, however, that one notion in particular can be retrieved within the whole inherited baggage of that aesthetic tradition, which may be able to further clarify the relationship between literature and society. This concept is that of material and the author who has most thoroughly investigated it is Adorno. In this paper I will try to outline the main features of a counterintuitive notion such as that of “literary material” and thereby explain why it plays such an important role in Adorno’s rework of the aesthetic paradigm of German idealism. The concept of material, in fact, is key to the definition of another aesthetic category around which, according to Adorno, most of the problems connected to works of art gravitate, that is to say, the notion of form. From Adorno’s aesthetics, in fact, one of his most insightful readers, Peter Szondi, draws the main principle for his study of the historical form of modern drama, namely the idea that form is essentially a precipitation, a sedimentation of contents. The work of art, then, at least according to this definition, is essentially identified by its form. Or, better said, the artwork must be interpreted as the way in which a certain (historical) content sediments in a certain external form. That the form of the work of art is precipitated content means, in simple terms, that no effective disjunction can be assumed between form and content. This is how Adorno reinterprets the concept of “identity of form and content” stressed by classical aesthetics. The content is such only insofar as it is precipitated into a certain form. This amounts to saying that no objective distinction can be established between one and the other. Now, if one were to ask how the form is made, Adorno’s answer is quite straightforward: the form is made by means of organization and, precisely, by means of the organization of the material. As one reads in Aesthetic Theory, in fact, “the substantial element of genres and forms has its locus in the historical needs of their materials,” and the particular form of an artwork is defined as the “organization” of its “materials” (Adorno 1970, transl. 1997: 201). The concept of material, therefore, is key to the definition of the very notion of work of art in its constituent components, namely the relationship between form and content. In this paper I will first of all clarify the notion of artistic material in general and subsequently I will turn to strictly literary material. Finally, and this is the main goal of this essay, I will show to what extent this definition of the material possibly contributes to a better understanding of a widely and variedly debated literary phenomenon of our time, namely the form of the so-called postmodern novel. (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)

This article introduces a new pragmatic framework for dual character concepts and their expressions, offering an alternative to the received lexical‐semantic view. On the prevalent lexical‐semantic view, expressions such as “philosopher” or “scientist” are construed as lexical polysemes, comprising both a descriptive and a normative dimension. Thereby, this view prioritizes established norms, neglecting normative expressions emerging in specific contexts. In contrast, the pragmatic view integrates pragmatic modulation as a central element in explaining context‐dependent dual character concepts (...) and expressions. This not only accounts for a wider range of phenomena but also addresses several theoretical shortcomings of the lexical view. (shrink)

O presente artigo é uma crítica à interpretação rortyana de Dewey. Nosso propósito é argumentar que as hipóteses de Rorty sobre o pragmatismo deweyano não podem ser confirmadas. Existem diferenças significativas entre a filosofia de Dewey e o neopragmatismo de Rorty. Nesse sentido, faremos objeções a alguns conceitos que aparecem na apropriação rortyana da filosofia de Dewey, a saber, a ideia do fim da filosofia, o relativismo expresso em sua crítica à ciência e a teoria conversacionalista como substituta da epistemologia. (...) Argumentaremos, especialmente, contra a proposta de Rorty, em que o conceito de linguagem tomaria o lugar do conceito de experiência na obra de Dewey. Assim, apresentaremos a metafísica empírica de Dewey em toda a sua especificidade, mostrando a inadequação da interpretação rortyana, condição que nos ajudará a confirmar o caráter não-rortyano da filosofia de Dewey.: This article is a critique of Rorty interpretation of Dewey. Our purpose is to argue that the hipoteses of Rorty about Dewey's pragmatism can not be confirmed. There are significant differences between the philosophy of Dewey and Rorty's neo-pragmatism. Accordingly, we will object to some concepts that appear in the appropriation of Dewey Rorty's philosophy, namely, the idea of the end of philosophy, relativism expressed in his criticism of the science and theory of epistemology conversacionalista as a substitute. Argue, especially against the proposed Rorty, in which the concept of language would replace the concept of experience in the work of Dewey. Thus, we present empirical metaphysics Dewey in all its specificity, showing the inadequacy of interpretation Rorty, a condition that will help us to confirm a character non-Rorty's philosophy of Dewey. Keywords: Dewey, Rorty, pragmatism, experience, metaphysics. (shrink)

In the field of modern photography, aesthetic recreations to varying degrees through the content of the images presented by photography, while forming a certain degree of philosophical aesthetic awareness, can awaken people's emotions and philosophical cognition. As a modeling language, the tone in photography is crucial in embodying the contrasting relationship between light and shade, virtual reality, and the different levels of black and white in black and white portrait photography. It is the most basic factor that constitutes a (...) class='Hi'>character's image. Based on the unique performance characteristics of the art of black and white portrait photography, and based on the art of tone in photography and cognitive and aesthetic perspectives in philosophy, this article discusses the role, classification, and influencing factors of tone in black and white portrait photography, and expounds the different philosophical concepts of the East and the West represented by the differences in tone in black and white portrait photography. By analyzing the philosophical concepts and expressions of tone in black and white portrait photography, it can be seen that black and white portrait photography has simple and highly generalized artistic characteristics. It represents the characteristics, connotations, and aesthetic characteristics of black and white portrait photography with a unique art, and at the same time builds a bridge between the photographer and the viewer at the philosophical and aesthetic levels. (shrink)

If ethical reflection on which concepts to use has an avatar, it must be Nietzsche, who took more seriously than most the question of what concepts one should live by, and regarded many of our inherited concepts as deeply problematic. Moreover, his eschewal of traditional attempts to derive the one right set of concepts from timeless rational foundations renders his conceptual ethics strikingly modern, raising the prospect of a Nietzschean alternative to Wittgensteinian non-foundationalism. Yet Nietzsche appears (...) to engage in two seemingly contrary modes of concept evaluation: one looks to concepts’ effects, the other to what concepts express. I offer an account of the expressive character of concepts which unifies these two modes and accounts for Nietzsche’s seemingly bifurcating interests. His fundamental concern is with the effects concepts are likely to have going forward, and it is precisely this concern that motivates his preoccupation with what concepts express. He evaluates concepts by asking for whom they have a point, working back from a concept via the need it fills to the conditions that engender that need and thereby render the concept pointful. For a concept to be pointful is for it to serve the concerns of its users through its effects. But even when it is not pointful, a concept expresses the presuppositions of its pointfulness, which we can work back to by asking who would have need of such a concept. What emerges is a powerful approach to conceptual ethics that looks beyond the formal virtues and vices of concepts at the presuppositions we buy into by using them. (shrink)

Some philosophers think that the challenge of justifying punishment can be met by a theory that emphasizes the expressive character of punishment. A particular type of theories of this sort - call it Expressive Retributivism [ER] - combines retributivist and expressivist considerations. These theories are retributivist since they justify punishment as an intrinsically appropriate response to wrongdoing, as something wrongdoers deserve, but the expressivist element in these theories seeks to correct for the traditional obscurity of retributivism. Retributivists (...) often rely on appeals to controversial intuitions involving obscure concepts. While retributive intuitions can be compelling, some worry that the justificatory challenge cannot be met merely by appealing to them. ER tries to enhance the clarity and justificatory power of these intuitions and the concepts they invoke by appealing to an expressive conception of punishment. I argue that these theories fail to justify punishment and that there is reason to think that they cannot, in principle, justify punishment. (shrink)

I would like to take this opportunity to express my thanks to colleagues whose suggestions have been essential: Karl S. Bottigheimer, Pierre H. Boulle, L. Perry Curtis, Arnold Esch, Marjorie M. Farrar, John R. Gillis, James Joll, Richard F. Kuisel, Alan Lawson, Philip T. Nicholson, James J. Sheehan, Robert Young.

We propose an AI-assisted design concept exploration tool, the “Character Space Construction”. Concept designers explore and articulate the target product aesthetics and semantics in language, which is expressed using “Design Concept Phrases”, that is, compound adjective phrases, and contrasting terms that convey what are not their target design concepts. Designers often utilize this dichotomy technique to communicate the nature of their aesthetic and semantic design concepts with stakeholders, especially in an early design development phase. The CSC assists (...) this designers' cognitive activity by constructing a “Character Space”, which is a semantic quadrant system, in a structured manner. A CS created by designers with the assistance of the CSC enables them to discern and explain their design concepts in contrast with opposing terms. These terms in a CS are retrieved and combined in the CSC by using a knowledge graph. The CSC presents terms and phrases as lists of candidates to users from which users will choose in order to define the target design concept, which is then visualized in a CS. The participants in our experiment, who were in the “arts and design” profession, were given two conditions under which to create DCPs and explain them. One group created and explained the DCPs with the assistance of the proposed CSC, and the other did the same task without this assistance, given the freedom to use any publicly available web search tools instead. The result showed that the group assisted by the CSC indicated their tasks were supported significantly better, especially in exploration, as measured by the Creativity Support Index. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theories of Emotion: Expressing, Feeling, Acting by Pia CAMPEGGIANISabrina B. LittleCAMPEGGIANI, Pia. Theories of Emotion: Expressing, Feeling, Acting. New York: Bloomsbury Publishing, 2023. xiv + 199 pp. Cloth, $80.89; paper, $21.60In Theories of Emotion, Pia Campeggiani provides a philosophical introduction to the emotions. The book is multidisciplinary and empirically informed. It is organized around three “groundbreaking intuitions” of emotion theory—(1) expression, (2) subjectivity, and (3) action. Each section (...) corresponds to a different thinker—Charles Darwin, William James, and John Dewey, respectively—and each section concludes with a discussion of relevant debates. This book is outstanding. It is clearly written, well organized, and impressive in its scope. In what follows, I outline key ideas and raise questions generated by each section, then conclude with general reflections on the text.Campeggiani begins with the “scandal” of emotion research: There is no agreement about what an emotion is. In part, this lack of consensus is due to the imprecise ways we employ concepts like feelings, emotions, affect, and passions in ordinary discourse. In part, it is due to empirical difficulties. For example, Campeggiani describes how implicit assumptions and a forced-choice format compromised an experiment about expression universality.Additionally, Campeggiani points out that the category “emotions” has an internal structure that lacks clear-cut boundaries. There are paradigmatic examples of emotions, such as fear and anger, but there are also ambiguous phenomena, such as respect and modesty, which we may or may not recognize as such. Throughout the text, Campeggiani introduces and evaluates numerous accounts of emotions, drawing our attention to the strengths, limitations, and empirical adequacy of each.Part 1 begins with Charles Darwin’s contributions to emotion theory—an emphasis on the biological origins of emotions and a focus on expression. This section examines emotions in connection to adaptive fitness, exploring phenomena such as blushing when we are ashamed and the biological bases of emotions. A highlight of this section is an exploration of the social or communicative character of the emotions, which Darwin described as “only a secondary effect” of expression. Campeggiani examines emotional contagion and imitation, as well as the [End Page 141] phenomenon of feeling more pain when we express pain on our faces. There is also a rich discussion about constructionism as an alternative to basic emotions theory.Part 2 opens with William James on subjective experience. Campeggiani describes the limitations of James’s position—of understanding emotions to be reducible to feelings. For starters, this position is not empirically well supported. Campeggiani cites Walter Cannon’s observation that “many of the autonomic changes that are symptomatic of a given emotion can also occur in its absence.” Additionally, James fails to “properly flesh out the link between emotions and evaluations.” Campeggiani then describes the cognitive turn in emotion theory that emerged in response to the lack of attention paid to evaluation. Cognitive accounts of emotion deemphasize the bodily dimensions of emotional experiences in favor of the intentional properties, or “aboutness,” of emotions. Emotions see things as things.From my vantage, this was the best part of the book. Campeggiani highlights Damasio’s point that decision-making depends on having a “correct affective perception of the values at stake in a given situation.” For instance, feeling outsized or misdirected fear may undermine our decision-making. Campeggiani also introduces debates about whether emotions are appraisals, and whether emotions entail judgments or make judgments more likely. In the introduction, she mentions that “decision-making processes are always and inevitably underpinned by emotions, for good and for ill.” We see what she means in this section. Emotions participate in reason, impede reason, and have cognitive content themselves.That emotions involve or participate in our judgments raises two kinds of concerns—epistemic and normative. The epistemic worry is that inaccurate appraisals may undermine our understanding of the world. This is especially worrisome for the class of emotions Campeggiani calls “recalcitrant,” or closed off to other mental states, and for the emotions she says are “heavily influenced by our needs and goals.” Emotions are imperfectly truth-tracking, as was made clear earlier, in part 1, regarding their adaptive nature. The normative worry is that certain emotional... (shrink)

This chapter offers a general outline of Schopenhauer’s peculiarly named concept of the 'acquired character’ and explains its basic function in his ethical thought. For Schopenhauer, a person of acquired character is someone who knows the ways of acting (Handlungsweise) that are most expressive of their individuality and who allows that self-knowledge to structure their practical and emotional life. In keeping with certain elements of his psychological determinism, acquired character is not the acquisition of a ‘new’ (...) character; rather, it is the acquisition of self-knowledge of one’s essentially fixed empirical character. It is part of the argument of this chapter that by introducing the acquired character into his reflections on human action and agency Schopenhauer weaves a certain view of individual flourishing (eudaimonia) into his ethics. There are two central ingredients of Schopenhauer’s conception of eudaimonia, and both are linked to the acquired character. The first is self-knowledge; the second is a sense of personal autonomy that follows in the wake of the first. The chapter ends with a brief attempt to connect Schopenhauer’s concept of acquired character to contemporary debates in ethics concerning autonomy, practical identity, and what some call the ‘normative significance of self’. (shrink)

The purpose. Explore the major ideological patterns of development of a socially philosophies of education in the context of the problems of institutionalization of knowledge about human and social development. To analyse system-integration aspect of social philosophy and education management in interaction of concepts of an instrumentalism of a pragmatism and a neopragmatism with model of «new humanism» in formation of socially valuable orientations. Methodology. Classification existing in the western philosophy of education and education of directions is spent, proceeding (...) from basic principles of philosophical school or a current, first of all considering those the purpose and means which are really involved by them in process of education, social development and socially-moral education and being based on the basic installations, the purpose expressed by that or other direction, how its supporters imagine the person, its requirement, a social role, модус behaviour which the education system and education urged to form. Scientific novelty. In conditions when against crisis of an education system of the government of the USA and the leading countries of Europe are compelled to begin its long-term reform, its theorists substantially pay attention to democratic workings out of concepts of an instrumentalism of a pragmatism/neopragmatism in modern social philosophy of education, in particular on their aspiration to introduce in process of social development, education and education idea and practical model both educational, and a social equality. Considering growing requirement of a practical embodiment of ideas of freedom, justice, aspiration to realization of the human rights proclaimed a society, supporters of the concept of «new humanism» see the main objective in blocking a way to conformism, to a manipulation behaviour of the person and to create conditions for its free self-expression, for realization by the person of a fundamental choice of acts in a concrete situation and by that to warn danger of formation of the unified form of behaviour. In it principles of «new humanism» approach with a position of «new humanism» instrumentalism and neopragmatism. Conclusions. Before social philosophy of education/education it is necessary to define a problem factors which cause achievement of its main objective, to state an estimation to moral principles and personal qualities with which actually the education/education theory connects realization of the problems, to show, why these, instead of any other principles and qualities open to the person possibility to choose in a concrete situation socially powerful both morally defensible and comprehensible line of conduct in public the relation. Statement of a question on necessity of the philosophical analysis of problems of education and education in a social context serves as an indicator of understanding philosophers, teachers of an increasing role of the human and moral factor in society development. And, at last, the aspiration to develop socially-philosophical bases of pedagogics in general and education in particular, testifies that the western and domestic philosophers, teachers, representatives of social and psychological sciences, at least, the majority of them, have realized the public importance of an education system and education, its global character. (shrink)

Gone are the heady days when Bernard Williams (1993) could get away with saying that “Nietzsche is not a source of philosophical theories” (p. 4). The last two decades have witnessed a flowering of research that aims to interpret, elucidate, and defend Nietzsche’s theories about science, the mind, and morality. This paper is one more blossom in that efflorescence. What I want to argue is that Nietzsche theorized three important and surprising moral psychological insights that have been born out by (...) contemporary empirical psychology. The first Nietzschean insight is the disunity of the self. The second, connected, Nietzschean insight is the primacy of affect. This primacy is expressed by what I have called elsewhere (Alfano 2010, 2013a) the tenacity of the intentional, and what Nietzsche calls the Socratic equation (TI Socrates 4, 10; WP 2:432-3). The third major Nietzschean insight is the social construction of character, which presupposes a wild diversity within the extensions of trait-terms and the dual direction of fit of character trait attributions. This last point is somewhat in tension with the only other published defense of the empirical credentials of Nietzsche’s moral psychology (Knobe & Leiter 2007), so I will make a few remarks about the contrast between my view and theirs. (shrink)

The pervasive dispositional model of belief is misguided. It fails to acknowledge the authority of first‐person ascriptions or avowals of belief, and the “decision principle”– that having decided the question whether p, there is, for me, no further question whether I believe that p. The dilemma is how one can have immediate knowledge of a state extended in time; its resolution lies in the expressive character of avowals – which does not imply a non‐assertoric thesis – and their (...) non‐cognitive status. The common claim that there are higher‐order beliefs concerning ones present beliefs is rejected as unintelligible. The decision principle is defended against claims of “unconscious belief”; there is no interesting such category, since all beliefs are liable at some time to be considered, but mostly to be out of mind. Belief is not constituted by a disposition, but is connected with dispositions – it is an “attitude concept”. (shrink)

The pervasive dispositional model of belief is misguided. It fails to acknowledge the authority of first‐person ascriptions or avowals of belief, and the “decision principle”– that having decided the question whether p, there is, for me, no further question whether I believe that p. The dilemma is how one can have immediate knowledge of a state extended in time; its resolution lies in the expressive character of avowals – which does not imply a non‐assertoric thesis – and their (...) non‐cognitive status. The common claim that there are higher‐order beliefs concerning ones present beliefs is rejected as unintelligible. The decision principle is defended against claims of “unconscious belief”; there is no interesting such category, since all beliefs are liable at some time to be considered, but mostly to be out of mind. Belief is not constituted by a disposition, but is connected with dispositions – it is an “attitude concept”. (shrink)

R. G. Collingwood thought that to express emotion is to come to understand it and that this is something art can enable us to do. The understanding in question is distinct from that offered by emotion concepts. I attempt to defend a broadly similar position by drawing, as Collingwood does, on a broader philosophy of mind. Emotions and other affective states have a profile analogous to the sensory profiles exhibited by the things we perceive. Grasping that one's feeling exhibits (...) such a profile is to understand it. That understanding differs from any involved in conceptualizing the affect in question. And, I argue, engagement with the expressive character of works of art is one way to gain it. (shrink)

This paper describes two concepts of virtue ethics. The first is tied to modern moral theory in that it is concerned to present a new way of deciding which actions are right and wrong. It depends on a conception of moral realism which sees the rightness of an action as an objective feature of it and on metaphysics of subjectivity that sees the self as a rational and self-aware deliberator. The second, contrasting conception of virtue ethics derives from Aristotle (...) and focuses on the character of the agent. It relies on an expression theory of action and on a concept of normativity which is more akin to standards of honor and appropriateness than to the standard of moral rightness. (shrink)

This paper explores the concept of myth in two books written by Kōsaka Masaaki, The Historical World and Philosophy of the Nation. In both, myth appears as a central moment in the transition from primitive to modern societies. The role of myth is closely related to Kōsaka’s notion of nature, since one goal of his reflection is to show how history is supported by the “substratum” of nature. In this sense, he also distinguishes between the natural and historical aspects of (...) nations. After analyzing the subcategories of primordial nature, environmental nature, and historical nature, the paper shows how these layers are articulated by myth. Authority, in the contractual form of potlatch, signalizes the moment of transition to the true self-determination of nations. Miki Kiyoshi was one author who pointed out the problematic aspects of Kōsaka’s theory of nation. A comparison with Miki’s thought uncovers how authority is the main characteristic of Kōsaka’s view of myth. The paper finishes by investigating where this authority comes from. Since it cannot come from nature alone, it should also come from the past character of myth itself, which is an expression of what Kōsaka terms “the eternal now”. (shrink)

Chapter 1 First Person Access to Mental States. Mind Science and Subjective Qualities -/- Abstract. The philosophy of mind as we know it today starts with Ryle. What defines and at the same time differentiates it from the previous tradition of study on mind is the persuasion that any rigorous approach to mental phenomena must conform to the criteria of scientificity applied by the natural sciences, i.e. its investigations and results must be intersubjectively and publicly controllable. In Ryle’s view, philosophy (...) of mind needs to adopt an antimentalist stance to achieve this aim. Antimentalism not only definitively rejects the idea that mind is a substance separated from the body, it also denies that mental phenomena radically differ from physical phenomena by virtue of several unique features. Most problematically, mental phenomena have a conscious character (mental states are related to specific qualitative feelings) and are accessible only to the first-person (only the subject knows directly what s/he is experiencing inside his/her mind). Ryle takes a strong stance on antimentalism going so far as to maintain that an approach to mind which aims to meet the criteria of scientificity set by the natural sciences must avoid any reference to internal, unobservable mental states. In his view (which is considered a specifically philosophical version of psychological behaviorism and also addresses questions put forward in psychological research), mental states can be redescribed in terms of behavioral dispositions. In this chapter, we address the historical roots of the antimentalist view and analyze its relation to the later tradition of research on mind. We show that, compared to the antimentalist stance, functionalism and cognitivism take a step back when they maintain that direct reference to mental states is necessary since mental states cause and therefore explain human behavior. This step backwards is often interpreted as a return to mentalism. However, this is only partially true. Indeed, we suggest that these later traditions retain one important element of Ryle’s antimentalism, i.e. the idea that mental states must be uniquely identified using external and publicly observable criteria, while excluding any reference to introspection and those qualitative dimensions of a mental state, which are accessible only to the first-person. According to the perspective we put forward, this epistemological stance has continued to influence contemporary research on mind and current philosophical and psychological theories which both tend to exclude the subjective qualities of human experience from their accounts of how the mind works. The issue we raise here is whether this is legitimate or whether subjective qualities do play a role with respect to the way our mind works. The conclusion of this chapter anticipates the argument the book makes in in favor of this latter position, starting from a particular angle, i.e. the problem of how we categorize concepts related to our internal states. -/- Chapter 2 The Misleading Aspects of the Mind/Computer Analogy. The Grounding Problem and the Thorny Issue of Propriosensitive Information -/- Abstract. After the crisis of behaviorism, cognitivism and functionalism became the predominant models in the field of psychology and of philosophy, respectively. Their success is mainly due to the new key they use for interpreting mental processes: the mind/computer analogy. On the basis of this analogy, mental operations are seen as cognitive processes based on computations, i.e. on manipulations of abstract symbols which are in turn understood as informational unities (representations). This chapter identifies two main problems with this model. The first is how these symbols can relate to and communicate with perception and thus allow us to identify and classify what we perceive through the senses. Here we limit ourselves to presenting this issue in relation to the classical symbol grounding problem originally put forward by Harnad on the basis of Searle’s Chinese room argument. An attempt to address the problem raised here will be made in chap. 3. The second point we discuss in relation to the mind/computer analogy concerns the idea of information it fosters. Indeed, following this analogy, information is something available in the external world which can be captured by the senses and transmitted to the central system without being influenced or modified by the procedures of transmission. This perspective does not take into account that – unlike computers – in living beings information is acquired by means of the body. As Ulric Neisser has already pointed out, the body is itself an informational source that provides us with additional sensory experience that influences (modifies or complements) the information extracted from the external world by the senses. To develop this line of analysis and to determine exactly what information is provided by the body and how this might influence cognition, we examine Sherrington’s and Gibson’s positions. Moving on from their views, we qualify bodily information in terms of ‘proprioception’. We use ‘proprioception’ in a broad sense to describe any kind of experience we have of our internal states (including postural information as well as sensations related to the general state of the body and its parts). Following Damasio’s and Craig’s studies, we further elaborate this position, arguing that living beings are equipped with an internal propriosensitive monitoring system which maps all the changes that constantly occur in our body and that give us perceptual (‘proprioceptive’ or propriosensitive) information about what happens inside us. Moreover, relying on Goldie’s and Ratcliffe’s view, we show that emotional information can also be considered as a form of ‘proprioception’ which contributes to determining everything we perceive. This analysis leads us to the second main thesis of this book: ‘proprioception’ is a form of internal perception and it is an essential component of the sensory information we can access and use for all cognitive purposes. -/- Chapter 3 Semantic Competence from the Inside: Conceptual Architecture and Composition -/- Abstract. Concepts are essential constituents of thought: they are the instruments we use to categorize our experience, i.e. to classify things and group them together in homogeneous sets. Here we define concepts as the internal mental information (representations) that allows us, among other things, to master words in natural language. By analyzing the way in which individuals master word meanings we explore a number of hypotheses regarding the nature of concepts. Following Diego Marconi’s research, we differentiate between two kind of abilities that underpin lexical competence – so-called ‘referential’ and ‘inferential competence’ – and we suggest that, in order to support these abilities, concepts must also include two corresponding kinds of information, i.e. inferential and referential information. We point out that the most widely used and acknowledged theories of concepts do not make this distinction, instead broadly characterizing the information used for categorization in terms of propositionally described feature lists. However, we show that while feature lists can explain inferential competence, they do not account for referential competence. To address the issue of referential competence we examine Ray Jackendoff’s hypothesis that to account for the possibility of linking perceptual and conceptual information we need to assume the existence of a (visual) representation that encodes the geometric and topological properties of objects and bridges the gap between the percept and the concept. Furthermore, we analyze the extension of this work by Jesse Prinz who introduced the notion of a proxytype, a perceptual representation of a class of objects that incorporates structural and parametric information related to their appearance. However, as we point out, proxytypes can only explain the relationship between perception and concepts with respect to instances that can be perceived through the senses and that belong to the same class by virtue of their physical similarity. We suggest that this notion be extended to include larger conceptual classes. To accomplish this, we further develop Mark Johnson, George Lakoff and Jean Mandler’s idea of a schematic image and argue that conceptual representations include a perceptual schema. Perceptual schemata are non-linguistic, structured experiential gestalts (patterns or maps) that make use of information taken from all sensory modalities, including body perception. They accomplish a quasi-conceptual function: they allow us to recognize and to classify different instances. In this work, we hypothesize that perceptual schemata are an essential component of concepts, but not identical to them. Instead, we suggest that concepts include both perceptual and propositional information with perceptual schemata providing the ‘perceptual core concept’ that grounds related propositional information. -/- Chapter 4 In the Beginning There Were Categories. The Bodily Origin of Prelinguistic Categorical Organization: The Example of Folkbiological Taxonomies -/- Abstract. Studies of categorization in psychology and the cognitive sciences have made use of the notions of ‘category’ and ‘concept’ without precisely defining what is meant by either; in fact, often these terms have been used as synonyms, making it difficult to address specific issues related to conceptual development. This chapter begins by discussing the definitions of, as well as the distinctions between, ‘categories’ and ‘concepts’ in the classical philosophical tradition (Aristotle, Kant and Husserl). We introduce our view of categories with reference to Husserl. Categorization is defined as the way in which our experience is originally (pre-linguistically) organized in a passive and fully unconscious manner on the basis of universal structuring principles. Conceptualization is explained as a later process in which the earlier categorical macro-classes are further subdivided into more specific and detailed sets; this later process also relies on linguistic learning and exposure to culture. On the basis of Ray Jackendoff, Jean Mandler, George Lakoff and Mark Johnson’s work, we hypothesize that categorization is a two-step process that begins with the formation of homogeneous sets of entities partitioned into regions that describe the ontological boundaries of the objects that humans perceive (categories) and continues at a later stage with the development of more specific classifications (concepts). In this chapter, we mainly address three related issues: Why should we assume that there is categorical organization which precedes the development of a conceptual system? How do categories and concepts relate to each other? Shall we hypothesize that categories are innate or that they are formed before concepts on the basis of information and organizational structure available at a very early developmental stage? We show that categorical partitions are necessary for categorization and, following Mandler, that the general categories we form at an early age do not match our adult superordinate concepts. As for the third issue, we argue that there might be no need to assume that categories are innately present in the human mind, since their formation can be explained – at least in certain cases – by basic mechanisms that work on body (propriosensitive) information. This hypothesis will not be discussed in general, but in relation to a particularly relevant example of categorical partition, i.e. the folk-biological dichotomy between ANIMATE/INANIMATE. This is compared with other dichotomies that derive from it, but are not directly categorical such as LIVING/NON-LIVING and BIOLOGICAL/NON-BIOLOGICAL. -/- Chapter 5 Internal States: From Headache to Anger. Conceptualization and Semantic Mastery -/- Abstract. Here we ask if we can also apply the distinction between referential and inferential competence we introduced in Chapter 3 to words that do not refer to things that are perceived using the external senses, especially to words/concepts that denote bodily experiences (such as pain, thirst, hunger, etc.) or emotions. We introduce and discuss the hypothesis that – even though such words/concepts do not refer to intersubjectively identifiable entities in the external world – they do have a kind of referent that can be accessed via direct perception, more specifically ‘proprioception’, as we have defined it in terms of all propriosensitive information we can consciously access. In the first part of the chapter, we specifically consider terms denoting bodily experiences such as ‘pain’ or ‘hunger’ and argue that their referents are identified and classified from a first-personal point of view on the basis of four main characteristics: their specific intensity, their localization in the body, their co-occurrence with other signals and above all their specific qualitative sensations. Emotions are addressed in the second part of the chapter. We suggest that there is a continuity between bodily experiences and emotions. In particular, we argue for a perceptual theory of emotions in line with that proposed by James and Lange at the end of the 19th century and developed more recently by authors such as Damasio (see also chap. 2§5, §6). The hypothesis we put forward is that the referential information that supports the categorization of emotions and therefore also our mastery of terms referring to emotions consists in the perception (i.e. the ‘proprioception’) of those bodily states and changes in bodily states which constitute our emotional experience. In the context of this discussion we examine some objections to this line of reasoning that arise from a cognitivist perspective and following authors such as Oatley, Johnson-Laird and Frijda, we distinguish between basic emotions that can be identified and classified solely on the basis on how they feel and complex emotions whose identification and classification additionally depends on cognitive factors. To describe how emotions are identified and classified on the basis of how they feel, we rely on Marcel and Lambie’s distinction between an ‘emotion state’ and an ‘emotion experience’. Both notions indicate kinds of feelings that we consciously experience. However, they describe first-order and second order emotion awareness respectively. The emotion state is the feeling we have of the bodily states and changes that occur when we are experiencing an emotion, while the emotion experience is the fully developed and integrated emotion we both experience and are, with reflection, aware of experiencing. On the basis of this differentiation, we also show that the same characteristics that aid in the identification and classification of bodily experiences (specific qualitative sensations; somatic localization; specific intensity; presence/absence of specific concomitant sensations) can also be used for the identification and classification of emotions – at least basic emotions. In the last two sections of the chapter we present some clinical evidence on the semantic competence of people who suffer from Alexithymia and Autism Spectrum Disorder which supports the conclusions of our preceding analyses. -/- Chapter 6 The ‘Proprioceptive’ Component of Abstract Concepts -/- Abstract. In this chapter, we address the issue of whether the mastery of abstract words requires only inferential knowledge and thus, if the concepts that support the mastery of abstract words include only linguistic information. We start by differentiating the notions of ‘abstract’ and ‘general’ which are often erroneously confused. We then identify a strict definition of abstract, as contrasted with ‘concrete’, that applies to words or concepts whose referent cannot be experienced by the senses. We argue that abstract words/concepts would be better described as theoretical, because they are usually conceived as structured sets of inferential knowledge expressed linguistically; that is, as small theories. Pointing out parallels with Carnap’s analysis of this issue in philosophy of science, we hypothesize that words/concepts denoting non-observable entities are not all ‘equally theoretical’, because their link to sensory experience can be stronger or weaker. We revive the distinction, inspired by Quine, between theoretical and intertheoretical concepts/words. This distinction relies on the fact that the former – unlike the latter – retains a strong, although indirect, connection with perception. In Quine’s discussion, perception is understood uniquely in terms of observability, i.e. of external sensory experience. Here we argue, however, that bodily, ‘proprioceptive’ (i.e. propriosensitive) experience can also serve to referentially ground theoretical (i.e. abstract) concepts/words. We frame this issue using the example of the theoretical concept ‘freedom’ and Lakoff’s hypothesis that this concept is developed on the basis of bodily information. We contrast this with the example of ‘democracy’ which more closely resembles an intertheoretical concept/word. Furthermore, we show that one of the classical views put forward in psycholinguistic research to explain how abstract concepts are mentally represented – i.e. Paivio’s Dual Coding Theory – points in the same direction as our analysis. The same is true of Barsalou’s work suggesting that we use internal information to understand at least some abstract words. To sustain this position, we put forward two lines of evidence: the first comes from psycholinguistic studies while the second examines deficits of semantic competence exhibited by people with Autism Spectrum Disorder. On the basis of our analysis, we put forward a classification that distinguishes between different kinds of concreteness and different degrees of abstraction: concepts/words referring to body experiences and basic emotions are described as analogous to concrete concepts/words because they are grounded in perceptual (i.e. propriosensitive) experience, while abstract concepts/words are considered more or less abstract depending on whether they are intratheoretical (and rely entirely on inferential information) or theoretical (and are partially grounded in perceptual – or more often in propriosensitive perceptual – information). In the last section of the chapter we consider two scales that have been used in psycholinguistic research to measure the degree of concreteness vs. abstractness of words and we show that – used conjointly – they can provide a measure of the internal vs. external grounding of specific words. (shrink)

Experiences are interpreted as conscious mental occurrences that are of phenomenal character. There is already a kind of (weak) intentionality involved with this phenomenal interpretation. A stricter conception of experiences distinguishes between purely phenomenal experiences and intentional experiences in a narrow sense. Wittgenstein’s account of psychological (experiential) verbs is taken over: Usually, expressing mental states verbally is not describing them. According to this, I believe can be seen as an expression of one’s own belief, but not as an expression (...) of a belief about one’s belief. Hence, the utterance I believe it is raining shows that I believe that it is raining, although it is not said by these words that I believe that it is raining. Thinking thoughts such as I believe it is raining, but it is not raining (a variant of Moore’s paradox) is an absurdity between what is already said by silently uttering It is not raining and what is shown by silently uttering I believe it is raining. The paper agrees with a main result of Wittgenstein’s considerations of Moore’s paradox, namely the view that logical structure, deducibility, and consistency cannot be reduced solely to propositions—besides a logic of propositions, there is, for example, a logic of assertions and of imperatives, respectively. (shrink)

I argue that Husserl’s concept of position-taking, Stellungnahme, is adequate to understand the idea of second nature as an issue of philosophical anthropology. I claim that the methodological focus must be the living subject that acts and lives among others, and that the notion of second nature must respond to precisely this fundamental active character of subjectivity. The appropriate concept should satisfy two additional desiderata. First, it should be able to develop alongside the biological, psychological, and social individual development. (...) Second, it should be able to underlie the vast diversity of human beings within and across communities. As possible candidates, I contrast position-taking with two types of habit-like concepts: instinct and habitus, on the one hand, and customary habits, on the other. I argue that position-taking represents the active aspect of the subject while the habit-like concepts are passive. A subject’s position-takings and ensuing comportments are tied together by motivations, which evince a certain consistency, and for this reason are expression of the subject’s identity. I conclude by nuancing the relation between Stellungnahme and passivity. Passivity is deemed necessary to action but subservient to it; position-taking is thought to be prior to passivity. (shrink)

This paper extends Merleau-Ponty’s arguments regarding the interpersonal character of human spatiality and Bateson’s conception of the dynamically extended nature of consciousness. The central argument is that human communication is essentially spatial in nature, and that it is experienced and expressed as such. Using this analysis, the paper argues that Anorexia nervosa should not primarily be understood as an eating disorder, but rather as a spatially expressed and felt communication disorder. Moreover, it demonstrates that anorexia is not an illness (...) of an individual, but rather is a symptom of an ailing system of communication, most commonly that of an ailing family. By means of a novel interpretation of anorexia as a neurosis that both reflects a contracted environment and also offers a spatially significant gesture in response to this contracted environment, the paper helps to elucidate the spatial nature of communication in general and to show how acts of communication are not primarily acts or experiences of isolated individuals confronting other self-sufficient individuals, but are rather spatially shared and expressed experiences of intersubjectivity. (shrink)

This paper argues that the cognitive sciences need to incorporate aesthetic study of the arts into their methodologies in order to fully understand the nature of human cognitive processes, because the arts reflect insights into human experience that are unobtainable by the methodologies of the natural sciences. These insights differ from those acquired by scientific exploration because they arise not from the conceptual logic of reason but from the precategorial intuition of imagination. Aesthetics provides a methodology whereby we are able (...) to understand how art enables us to experience emotions caused by sense impressions. This methodology lies at the heart of Giambattista Vico’s Principi di scienza nuova (1725-44), which attempts to account for the way we live and participate in cultural, social, and civic communities. Vico’s theory challenges certain Western philosophical presuppositions that still inform much of cognitive science, such as the relation of language to our experience of the natural world, the nature of subjective and objective representations, and the role of the arts in the evolutionary development of the human mind. In basing my approach to literature on Vico’s, Susanne K. Langer’s (1953, 1967) and Merleau-Ponty’s (1962[1945], 1968) theories, I argue that the language of literature is distinguished from conventional language use by its imaginative use of aesthetic patterns that make manifest the inherent character of the external world as we experience it. By introducing the concepts of minding, metaphor, and icon as structures of the imagination, I show how the language of poetic expression in Matthew Arnold’s poem, “Dover Beach,” enables us to apprehend the ways in which we intuitively participate in the reality that underlies our conscious experience. Such participation occurs because sensory impressions of the world we experience cause modifications in the human mind that result in affective responses. Current research in the cognitive sciences increasingly indicates that such modification occurs; aesthetic study of the arts provides a means whereby we can know what it is like to experience such modifications. (shrink)

Despite the fundamentally binary character of justification , an upsurge in recent Anglo-American scholarship offers some highly sophisticated and widely diverging conceptions of in criminal law. In the present article we identify eight distinct conceptions of partial justification. We find, however, that each of them is predicated on a different conceptual fallacy. Any sound concept of partial justification in criminal law ought to meet the dual challenge of utility and consistency: it should usefully convey a message that advances the (...) conduct-guiding function of criminal law and retain some consistency with the key attributes of complete justification, particularly its allowing function and the implications of its typically universal nature. We maintain that none of the conceptions offered to date meets this challenge. The different meanings attached to partial justification do not further the guiding function of criminal law beyond what is achieved by the scalar concept of wrongfulness; indeed, they undermine the guiding utility of criminal law by obscuring the distinction between the permissible and the impermissible, thereby also diminishing the expressivity of the criminal conviction. Furthermore, extending partial universality to the proposed notions of partial justification implausibly marks retaliating victims and intervening third parties, who react to allegedly partially justified conduct, as partly blameworthy, whereas present legal doctrine rightly affords them a full defense. (shrink)

Abstract: One oft-cited feature of speech acts is their expressive character: Assertion expresses belief, apology regret, promise intention. Yet expression, or at least sincere expression, is as I argue a form of showing: A sincere expression shows whatever is the state that is the sincerity condition of the expressive act. How, then, can a speech act show a speaker's state of thought or feeling? To answer this question I consider three varieties of showing, and argue that only (...) one of them is suited to help us answer our question. I also argue that concepts from the evolutionary biology of communication provide one source of insight into how speech acts enable one to show, and thereby express, a psychological state. (shrink)

Humoralism, the view that the human body is composed of a limited number of elementary fluids, is one of the most characteristic aspects of ancient medicine. The psychological dimension of humoral theory in the ancient world has thus far received a relatively small amount of scholarly attention. Medical psychology in the ancient world can only be correctly understood by relating it to psychological thought in other fields, such as ethics and rhetoric. The concept that ties these various domains together is (...) character (êthos), which involves a view of human beings focused on clearly distinguishable psychological types that can be recognized on the basis of external signs. Psychological ideas based on humoral theory remained influential well into the early modern period. Yet, in 17th-century medicine and philosophy, humoral physiology and psychology started to lose ground to other theoretical perspectives on the mind and its relation to the body. This decline of humoralist medical psychology can be related to a broader reorientation of psychological thought in which the traditional concept of character lost its central position. Instead of the focus on types and stable character traits, a perspective emerged that was primarily concerned with individuality and transient passions. (shrink)

Despite the fundamentally binary character of justification, an upsurge in recent Anglo-American scholarship offers some highly sophisticated and widely diverging conceptions of “partial justification” in criminal law. In the present article we identify eight distinct conceptions of partial justification. We find, however, that each of them is predicated on a different conceptual fallacy. Any sound concept of partial justification in criminal law ought to meet the dual challenge of utility and consistency: it should usefully convey a message that advances (...) the conduct-guiding function of criminal law and retain some consistency with the key attributes of complete justification, particularly its allowing function and the implications of its typically universal nature. We maintain that none of the conceptions offered to date meets this challenge. The different meanings attached to partial justification do not further the guiding function of criminal law beyond what is achieved by the scalar concept of wrongfulness; indeed, they undermine the guiding utility of criminal law by obscuring the distinction between the permissible and the impermissible, thereby also diminishing the expressivity of the criminal conviction. Furthermore, extending partial universality to the proposed notions of partial justification implausibly marks retaliating victims and intervening third parties, who react to allegedly partially justified conduct, as partly blameworthy, whereas present legal doctrine rightly affords them a full defense. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Basic Concepts of Aristotelian PhilosophyShawn LohtMartin Heidegger. Basic Concepts of Aristotelian Philosophy. Translated by Robert D. Metcalf and Mark B. Tanzer. Bloomington-Indianapolis: Indiana University Press, 2009. Pp. xii + 279. Cloth, $39.95.Previously available as Volume 18 of the Gesamtausgabe [GA], this text contains a lecture course delivered by Heidegger at Marburg during the summer of 1924. Metcalf and Tanzer's translation is its first appearance in English. (...) The editor of this volume in the Gesamtausgabe reports that only a fraction of Heidegger's original course material survives in manuscript form. As a result, much of the text does not originate from Heidegger's own hand. The bulk of it represents a transcription of the lecture course based on multiple independently-recorded, complete sets of student notes in conjunction with Heidegger's extant course papers. However, the resulting text reads as continuously as Heidegger's other better-preserved lecture courses from the 1920s, and should be regarded as a legitimate source for studying early Heidegger. Only the reproduction of Heidegger's notes for the course appears in rough outline form, comprising approximately 50 pages, so readers should not anticipate a text consisting entirely of abbreviated sketches as one sees, for instance, in the recently translated Basic Concepts of Ancient Philosophy (GA 22).The content of the lecture course is not devoted to enumerating the basic Aristotelian concepts per se, but rather to accounting for the phenomenological dimensions of the Greek experience in which conceptuality as such could arise. However, Heidegger does treat most principal concepts of Aristotelian philosophy here, describing the ontological framework from which they originate and their interrelations with one another.Heidegger engages with Kant in the early sections of the course in order to locate the historical solidification of the concept as a guiding idea in philosophy, but he moves to Aristotle quickly on the premise that the decisive germ of conceptuality is exhibited in the Greek discovery of the significance of definitions. In the text that follows, Heidegger takes up central themes in Aristotle in order to unfold Greek being-in-the-world as occurring through language and, particularly, oral discourse. Strong focus is placed on Greek being-there in its everydayness as the hermeneutic for understanding conceptuality.Clear rudiments of the terminology of Being and Time emerge in the course of Heidegger's account of Aristotle. Themes appearing in that later work, including world, being-with-one-another, attunement, fear, and idle talk, inform Heidegger's reading of the Aristotelian account of human nature across the Nicomachean Ethics, Rhetoric, De Anima, and Parts of Animals. Key Aristotelian terms Heidegger develops within this framework include 'prohairesis', 'hexis', 'pathos', and 'nous'. Early formulations of Heidegger's conceptions of logos and aletheia and their fundamental role in Greek experience also permeate his reading. Traces of Heidegger's more mature phenomenology are evident in the lecture course's late sections, in which he takes up the Aristotelian account of motion in the Physics. Here, Heidegger emphasizes the roles of nous as constitutive of the human agent's openness to the world and of kinesis as the fundamental mode in which beings come into view for the Greeks.Notable among the translation choices of Metcalf and Tanzer is their rendering of 'Dasein' and its variants. As they write in the Translators' Preface, Heidegger's use of this term in the lecture course reflects an understanding of Dasein in terms of its there-character. The result places less emphasis on the human subject as a dative agent of manifestation, as one sees in Being and Time, highlighting instead the manner in which Dasein finds itself in the world. This last is expressive of Heidegger's emphatic treatment in the course of conceptuality as tied up with human being-in-the-world.This text will be of vital interest to scholars interested in the genesis of Being and Time and Heidegger's early formulations of its central arguments in the 1920s. The text will also be an important addition to Heidegger's works on Aristotle available in English. The lecture course offers penetrating and incisive accounts of themes in Aristotle that Heidegger neglects or treats only briefly... (shrink)

Explores the concept of historical intermittency in 5 recent French philosophers. Andrew Gibson engages with five recent and contemporary French philosophers, Badiou, Jambet, Lardreau, Francoise Proust and Ranciere, who each produce a post-Hegelian philosophy of history founded on an assertion of the intermittency of historical value. Gibson explores this `anti-schematics of historical reason' and its implication for politics, ethics and aesthetics in a wide range of modern intellectual contexts, finding its necessary complement and most powerful expression in a wealth of (...) modern art, chiefly modern literature. The result is a sustained reflection on the possible character of a contemporary philosophy of history and an important contribution to our knowledge of contemporary French philosophy. (shrink)

IN his recent paper ‘On Concepts of Truth in Natural Languages’ [7] Professor Sommers proposes a new solution to the Liar paradox. He claims that ‘an acceptable natural solution must possess the following two features: Barriers to the Liar paradox are discovered in natural syntax, The natural barriers which keep out the Liar do not also exclude meaningful and harmless linguistic reference’. If we reformulate Sommers’ claim we get the puzzling contention that the natural barriers of a semantic paradox (...) should be looked for in natural syntax. It is puzzling for there is no reason to seek solution of some of the most difficult problems in the semantics of natural languages in the syntax of natural languages. Now, this puzzling air is not due to our introduction of the epithet ‘semantic’ to the Liar paradox. Sommers recognizes the semantic character of the paradox and its solution when he states that the principle which is claimed to be the barrier of the paradox ‘though.… a syntactic principle, the restraints it imposes on natural language are semantic. It sets bounds on the expressive powers of the language by prohibiting certain kinds of state reference or state characterization’. (shrink)

The author starts with the assumption that present‐day Western society is complex, pluralistic and conflictual in nature. Because of these qualities of society, law appears as an ineluctable means for the regulation of societal relationships. Law does not express an amorphous common good, nor is it simply an instrument of power. Law turns the socio‐ethical and political conception that discursively prevails in the competition among the diverging conceptions of dynamic social groups into generally binding standards of conduct. In the socio‐axiological (...) concept of law presented here, law exhibits the conflicting character of the open, pluralistic society and brings about understanding for democracy and discursive‐deliberative politics. These are favourable presuppositions for the acceptability of law. (shrink)

The hope that art could be personally or socially transformational is an important part of art history and contemporary art practice. In the twentieth century, it shaped a movement away from traditional media in an effort to make social life a medium. Artists imagined and created participatory situations designed to facilitate potentially transformative expression in those who engaged with the works. This chapter develops the concept of “transformative expression,” and illustrates how it informs a diverse range of such works. Understanding (...) these artworks in this way raises two interesting questions, one about the nature of aesthetic value and the other about the nature of action. Answers to these questions lie in understanding the social and aesthetic character of our capacity to distance ourselves from our commitments and act in the expressive, playful, spontaneous, or imaginative ways that participatory art invites. (shrink)

This volume addresses issues of moral pluralism and polarization by drawing attention to the transcendent character of the good. It probes the history of Christian theology and moral philosophy to investigate the value of this idea and then relates it to contemporary moral issues. The good is transcendent in that it goes beyond concrete goods, things, acts, or individual preferences. It functions as the pole of a compass that helps orient our moral life. This volume explores the critical tension (...) between the transcendent good and its concrete embodiments in the world through concepts like conscience, natural and divine law, virtue, and grace. The chapters are divided into three parts. Part 1 discusses metaphysical issues like the realist nature and the unity of the good in relation to philosophical, naturalist, and theological approaches from Augustine to Iris Murdoch. The chapters in Part 2 explore issues about knowing the transcendent good and doing good, exemplified in the delicate balance between divine command and human virtuousness. Early Protestant theological views prove to be excellent interlocutors for this reflection. Finally, Part 3 focuses on how transcendence is at stake in two heavily debated moral issues of today: euthanasia and the family. The Transcendent Character of the Good will be of interest to scholars and advanced students working in theological ethics, moral philosophy, and the history of ethics. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the cognitive (...) and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)

One of the most important elements of Hegel’s philosophical anthropology is his moral psychology. In particular, his understanding of the relation between motivations and reason plays a crucial intermediate role in connecting his anthropological meditations on the complete nature of the human being with his political theory of actualized freedom. Whereas recent important work on Hegel’s moral psychology has detected a Kantian distinction between natural desires and the rational perspective, the activity of practical reason actually takes place within motivations themselves (...) on Hegel’s view. The exercise of the free, rational will is best understood in terms of its role in shaping the experience of malleable, indeterminate motivations. Rather than stepping back, the free agent on Hegel’s account delves further into the motivation, acting on it in the dual sense of being guided by and transforming it. This is what it means for Hegel to conceive of agency as self-expression while maintaining the centrality of reason for Free Will. Hegel says that when we go further into the motivations in this way, we should stop speaking of motivation in terms of drives and instead begin speaking of character. (shrink)

There are multiple and diverse voices of jurists who have expressed their fear of the unrestricted power of law enforcement and have announced the crisis of the formalist sense of Law. The widespread reaction against the abstract and formalist character of the positivist theory of law manifested itself as the Krausist philosophy of law and was backed by the philosophy of Krause, Schelling, Hegel and the most recent Natural Law theories that seek to establish substantial criteria for moral action. (...) This distrust was caused by the heteronomy of modest and obedient civil servants of the judicial order that rely on political balance of power in which nothing depends on the human bottom of institutions. Let us consider briefly the impressive analyses performed by different thinkers on this issue, which they considered characteristic of their era, but that continues to constitute a difficulty that challenges contemporary society. (shrink)

Many liberal political philosophers hold that the state should not impose or even promote any particular conception of the good life or human flourishing. It should not, for instance, enact laws and policies designed to elevate citizens' tastes, to refine their sensibilities or to perfect their characters. Instead, the state should restrict itself to maintaining a fair framework of rights and opportunities within which all citizens can pursue their own beliefs about what constitutes a good life. Against this backdrop, Collis (...) Tahzib develops a version of perfectionist political philosophy. Whereas previous perfectionists have argued that the promotion of flourishing ways of life is permissible or legitimate, Tahzib casts perfectionism as a doctrine of justice. On this view, the implementation of laws and policies designed to promote sound ideals of the good life--ideals such as moral, intellectual and artistic excellence--is not merely a legitimate complement to justice but an essential constituent of justice. Over the years, perfectionism has faced various objections: that it is premised on values and judgements that are controversial within modern pluralistic societies; that it is unduly restrictive of freedom or autonomy; that it treats citizens as if they are children, unable to run their own lives; that it expresses the meddlesome mentality of a village busybody; that it mistakenly assumes that there are objective truths about human flourishing; and that it risks the abuse of power by incompetent, overzealous or corrupt state officials. These ideas represent some of the deepest, most vibrant and most powerful strains in liberal thought. In defending perfectionism against these charges, the arguments in A Perfectionist Theory of Justice make a novel and important contribution to longstanding debates about the philosophical foundations of liberalism. (shrink)

The aim of this paper is to describe Whitehead’s specific interpretation of what was originally Plato’s concept of the "receptacle". Whitehead, in line with his own process philosophy, understands Plato’s concept of the "receptacle" as a personal unity that, in its structural character, expresses the general principle that determines the constitution of the whole of our reality. The author of this paper begins by briefly describing Plato’s concept of hypodoché. The author then goes on to present Whitehead’s specific interpretation (...) of this concept, which allows him to elaborate the potential parallels between Whitehead’s interpretation of hypodoché and his concept of "eternal objects". Finally, the author attempts to find the answer to a fundamental philosophical question: what in reality corresponds to Whitehead’s concept of "eternal objects". He suggests that a possible answer may be found in the General Systems Theory of Ludwig von Bertalanffy. (shrink)

In this article, I argue that the recent emphasis on compassion in healthcare practice lacks conceptual richness and clarity. In particular, I argue that it would be helpful to focus on a larger concept of empathy rather than compassion alone and that compassion should be thought of as a component of this larger concept of empathy. The first part of the article outlines a critique of the current discourse of compassion on three grounds. This discourse naturalizes, individualizes, and reifies compassion (...) leading to a decontextualized and simplified understanding of failures in healthcare practice. The second part uses resources from phenomenology and contemporary moral philosophy to construct a “hybrid” concept of empathy that includes both pre‐reflective/intuitive and cognitive/imaginative components. This “hybrid” concept of empathy leads to a more complex understanding of the multiple responses to others' distress. I conclude that there are no straightforward normative naturalistic responses to others' distress. Rather than conceptualizing compassion as a naturalistic impulse or a character‐based trait, we need to consider the complexity of our empathic recognition of vulnerable others. (shrink)

The paper explores Wittgenstein’s notion of grammar in the sense of a discipline or an activity, as opposed to the object sense of the term (grammar as a body of rules for the use of a language). I argue that the Wittgensteinian activity of grammar consists in giving expression to rules of our language use. It differs from the traditional grammarian’s activity not only in focusing on a different type of rules, but also in that it does not aim at (...) an explicit and exhaustive treatment of a specific domain of language. Instead, Wittgenstein conceives its goal as therapeutic: the dissolution of particular philosophical problems. Further, I attempt to reconcile his seemingly contradictory remarks on the character of grammatical statements, defining the senses in which they respectively can, and cannot, be considered descriptive assertions. I confront G. P. Baker’s and P. M. S. Hacker’s conceptions of the Wittgensteinian grammatical activity and I argue in favour of the former. Finally, I critically examine N. Garver’s claim that Wittgenstein, in his later conception of philosophy as grammar, succeeded in formulating a successfully self-referential criterion of philosophical critique. I also argue that grammatical activity, despite Wittgenstein’s overt commitment, is in fact not the only method of his later philosophy. (shrink)

We advance a framework for an inferential conception of physical laws, addressing the problem of the application of mathematical structures to the relevant structure of physical domains. Physical laws, we argue, express generalizations that work as rules for deriving physically informative inferences about their target systems, hence guiding us in our interaction with various domains. Our analysis of the application of mathematics to the articulation of physical laws follows a threefold scheme. First, we examine the immersion of the relevant structure (...) of physical domains into mathematical structures. Second, we assess the inferential power of laws resulting from the mathematical formalism employed in the immersion step. And third, we provide a suitable physical interpretation for the extant mathematical structures obtained from the inferential step. We demonstrate that a deflationary, empiricist framework for an inferential conception of physical laws delivers both an understanding of the mathematical character of physical laws, and a way of responding to some of the standard philosophical riddles associated with laws. (shrink)