This book is the 1906 second edition of the Hulsean Lectures delivered at the University of Cambridge between 1901 and 1902. In these four lectures, F. R. Tennant challenges conventional teachings on Original Sin and the story of the Fall, arguing that his contemporaries had misinterpreted the biblical presentation of sin and its manifestations. Tennant aims to redefine the sin of both the race and the individual, and in doing so engages with traducianism and the philosophies of Malebranche, Kant and (...) Hegel. He argues that action predates modern conceptions of right and wrong, and that transgression is only sin if the actor is aware of what is morally right. Of course, these theories were met with great opposition, an opposition which Tennant uses the preface of this second edition to confront. These fascinating lectures and their appendages will be of great interest to scholars of Christian theology and the fin de siècle alike. (shrink)

The narrativist philosophy of history and the epistemological philosophy of history are opposed to each other and have remarkably little in common. Within the epistemological philosophy, the debate between the coveringlaw model advocates and the analytical hermeneutists has always been moving towards synthesis more than towards perpetuation of the disagreement. But the revolution from epistemological to narrativist philosophy of history enacted in Hayden White's work made the philosophy of history finally catch up with the developments in philosophy since the works (...) of Quine, Kuhn, and Rorty. White stresses the "making" or "poetic" function of narrative at the expense of the "matching" function so dear to the mimetic epistemology of positivism. Philosophers of history should shake off this positivistic past and make history narrativist. (shrink)

Taking as its point of departure a sharp critique of Rawls's influential A Theory of Justice, this book looks at politics from an aesthetic perspective.

Schelling's first systematic attempt to articulate a complete philosophy of nature.

Why are we interested in history at all? Why do we feel the need to distinguish between past and present? In this book, the author argues that the past originates from an experience of rupture separating past and present. Think of the radical rupture with Europe's past that was effected by the French and the Industrial Revolutions. Sublime Historical Experience investigates how the notion of sublime historical experience complicates and challenges existing conceptions of language, truth, and knowledge. These experiences of (...) rupture are paradoxical since they involve both the separation of past and present and, at the same time, the effort to overcome this separation in terms of historical knowledge. The experience unites feelings of loss/pain with those of love/satisfaction, and thus is in agreement with how sublime experience is ordinarily defined. The experience is also precognitive since it precedes historical knowledge. As such it is a challenge to traditional conceptions of the relationship between experience and truth or language. It compels us to disconnect the notions of experience and truth. (shrink)

We no longer have any texts, any past, but just interpretations of them. The evident multi -interpretability of a text causes it gradually to lose its capacity to function as arbiter in the historical debate. It is necessary to define a new link with the past based on a complete and honest recognition of the position in which we now see ourselves placed as historians. In recent years, many people have observed our changed attitude towards the phenomenon of information. For (...) postmodernism, science and information are independent objects of study which obey their own laws. Language and art are not situated opposite reality but are themselves a pseudo-reality and are therefore situated within reality. Because of the relation between the historiographical view and the language used by the historian to express his view - a relation which nowhere intersects the domain of the past -historiography possesses the same opacity and intensional dimension as art. The essence of postmodernism is precisely that we should avoid pointing out essentialist patterns in the past. There is reason to assume that our relation to the past and our insight into it will in future be of a metaphorical nature rather than a literal one. (shrink)

Many research ethics guidelines now oblige researchers to offer research participants the results of research in which they participated. This practice is intended to uphold respect for persons and ensure that participants are not treated as mere means to an end. Yet some scholars have begun to question a generalised duty to disclose research results, highlighting the potential harms arising from disclosure and questioning the ethical justification for a duty to disclose, especially with respect to individual results. In support of (...) this view, we argue that current rationales for a duty of disclosure do not form an adequate basis for an ethical imperative. We review policy guidance and scholarly commentary regarding the duty to communicate the results of biomedical, epidemiological and genetic research to research participants and show that there is wide variation in opinion regarding what should be disclosed and under what circumstance. Moreover, we argue that there is fundamental confusion about the notion of “research results,” specifically regarding three core concepts: the distinction between aggregate and individual results, amongst different types of research, and across different degrees of result veracity. Even where policy guidance and scholarly commentary have been most forceful in support of an ethical imperative to disclose research results, ambiguity regarding what is to be disclosed confounds ethical action. (shrink)

The vocabulary of representation is better suited to an understanding of historiography than the vocabularies of description and interpretation. Since both art and historiography represent the world, they are closer to science than are criticism and the history of art because the interpretation of meaning is the specialty of the latter two fields. Historiography is less secure in its attempt to represent the world than art is; historiography is more artificial, more an expression of cultural codes than art itself. Historiography (...) is a suitable paradigm for studying certain philosophical problems, particularly epistemology, or codified representation. Representation always requires the presence of two sets of non-referential logical dummies; disturbing the symmetry between these logical dummies gives rise to the position of realism and idealism. Epistemology is strongly inclined to disturb this symmetry. The parallels between recent developments in art and those in historiography demonstrate how much historiography is part of the contemporary cultural world. The deficiencies of modern philosophy of history can largely be explained by its tendency to neglect the cultural significance of the writing of history. (shrink)

This volume asks how and why the concept of nature has changed its meaning in modernity and whether a rearticulation of premodern ideas about nature is possible. Building on the work of Voegelin, Strauss, Lonergan, Finnis, and others, the book compares and contrasts classical, medieval, and modern conceptions of nature.

Modern thought is sometimes presented as introducing a “turn to the subject” absent from ancient and medieval thought, although the schools of thought associated with Bernard Lonergan, Eric Voegelin, Leo Strauss, and the new natural law theory often find subjectivity already operative in the older forms. In this volume, sixteen leading scholars examine the turn to the subject in modern philosophy and consider its historical antecedents in ancient and medieval thought.

Forgetting has rarely been investigated in historical theory. Insofar as it attracted the attention of theorists at all, forgetting has ordinarily been considered to be a defect in our relationship to the past that should be overcome in one way or another. The only exception is Nietzsche who so provocatively sung the praises of forgetting in his On the Use and Abuse of History . But Nietzsche's conception is the easy victim of a consistent historicism and therefore in need of (...) correction. Four types of forgetting are identified in this essay. Central in the essay's argument is the fourth type. This is the kind of forgetting taking place when a civilization "commits suicide" by exchanging a previous identity for a new one. Hegel's moving account of the conflict between Socrates and the Athenian state is presented as the paradigmatic example of this kind of forgetting. Two conclusions follow from an analysis of this type of forgetting. First, we can now understand what should be recognized as a civilization's historical sublime and how the notions of the historical sublime and of collective trauma are related. Second, it follows that myth and history do not exclude each other; on the contrary, history creates myth. This should not be taken to be a defect of history, for this is precisely how it should be. (shrink)

R F Dearden; Happiness and Education, Journal of Philosophy of Education, Volume 2, Issue 1, 30 May 2006, Pages 17–29, https://doi.org/10.1111/j.1467-9752.1968.

"The chief business of twentieth-century philosophy” is “to reckon with twentieth-century history," claimed R. G. Collingwood. In this remarkable collection of essays, Frank Ankersmit demonstrates the prescience of that remark and goes a long way toward meeting its challenge. Responding to the work of Hayden White, Arthur Danto, and Hans-Georg Gadamer, he examines such issues as the difference between historical representation and artistic expression, the status of metaphor in historical description, and the relation of postmodernism to historicism. Ankersmit's fluent grasp (...) of European thought and his ability to incorporate concepts from literary theory, art history, the philosophy of science, and political thought into his analyses assure that this collection will interest readers throughout the humanities. (shrink)

The main difficulty utilitarians have faced is the problem of reconciling the dictates of utility with what seem clearly to be moral duties, but based on considerations of Justice. John Stuart Mill addressed this problem in his essay,Utilitarianism,and the result has not served to silence the critics of utilitarianism on this score. In part, this is due to the fact that Mill's position in the chapter on Justice is not entirely clear, nor is it entirely convincing where it is clear. (...) Still, I do not think Mill's views on Justice have been given their due. In this essay, I shall try to show that Mill anticipated recently defended principles that rely on appeal to a notion of fairness or fair play, and that these can be given a utilitarian foundation. (shrink)

This essay deals, mainly, with the notion of representation. Representation is associated with texts and, as such, is contrasted to the true singular statement. It is argued that the relationship between the text and what the text represents can never be modeled on the relationship between a true singular statement and what the statement is true of, and, furthermore, that the former relationship is aesthetic while the latter is epistemological in nature. This aesthetic relationship between the represented and its representation (...) is investigated from the perspective of historical writing. This offers an interesting perspective because historical texts are representations, but they also aim at giving us “the truth” about the past. Historical representation, therefore, is the kind of representation coming closest to the cognitive claims traditionally investigated by epistemology. The notion of aesthetic and historical experience is explored in order to define the relationship between historical representation and what it represents. (shrink)

The point of departure of this essay is a paradox in traditional conceptions of historical objectivity. This paradox can best be analyzed in terms of the notion of the “double bind”: the requirement of historical objectivity is formulated in such a way that it is impossible to satisfy the requirement. The substance of this essay is an investigation of how J. M. Coetzee deals with the moral impasses of this double bind in his most recent novel, Elizabeth Costello . In (...) essence Coetzee forces his way through the double bind by an appeal to a direct experience of the world. The Spinozism implied by this strategy is indicated at the end of the essay. The analysis of Coetzee’s novel is preceded by a discussion of Kafka’s “Before the Law,” since the relevant part of Coetzee’s novel clearly is a paraphrase of the Kafka parable. Moreover, insight into the textual double binds in the Kafka parable contributes to an understanding of the moral double binds that are addressed in Elizabeth Costello. (shrink)

Indeterminism is opposed to the philosophic theory of determinism, of which Sir Arthur Eddington, in a recent pronouncement on this subject, 1 quotes three definitions. On the ground that it expresses unequivocally what we all feel to be the gist of the theory, he gives preference to the third, from Omar Khayyám:—.

The preceding paper described how all-pervasive was the influence that Paracelsus designated ‘astral’. In what sense, then, is it true that he placed restrictions, on astrological powers? The restriction applies to the more limited and usual sense of astrology, referring to the control of events on earth by the stars in the sky. Paracelsus was not prepared to hand over our fates entirely to a distant autocracy of the stars quite beyond our control.