Introduction -- Trapped by oneself in Jacques Tourneur's Out of the past -- "A deliberate, intentional fool" in Orson Welles's The lady from Shanghai -- Sexual agency in Fritz Lang's Scarlet Street -- "Why didn't you shoot again, baby?": concluding remarks.

Although best known for his contributions to the theory of knowledge, metaphysics, and philosophy of religion, Hume also influenced developments in the philosophy of mind, psychology, ethics, political and economic theory, political and social history, and aesthetic theory. The fifteen essays in this volume address all aspects of Hume's thought. The picture of him that emerges is that of a thinker who, though often critical to the point of scepticism, was nonetheless able to build on that scepticism a constructive, viable, (...) and profoundly important view of the world. Also included in this volume are Hume's two brief autobiographies and a bibliography suited to those beginning their study of Hume. This second edition of one our most popular Companions includes six new essays and a new introduction, and the remaining essays have all been updated or revised. (shrink)

: Fate and fatalism have been powerful notions in many societies, from Homer's Iliad, the Greek moira, the South Asian karma, and the Chinese ming in the ancient world to the modern concept of "destiny." But fate and fatalism are now treated with philosophical disdain or as a clearly inferior version of what is better considered as "determinism." The concepts of fate and fatalism are defended here, and fatalism is clearly distinguished from determinism. (...) Reference is made to the ancient Greek and Chinese versions to explore the various dimensions of these ideas. (shrink)

David Hume is, arguably, the most important philosopher ever to have written in English. Although best known for his contributions to epistemology, metaphysics, and the philosophy of religion, Hume also made substantial and influential contributions to psychology and the philosophy of mind, ethics, the philosophy of science, political and economic theory, political and social history, and, to a lesser extent, aesthetic and literary theory. All facets of Hume's output are discussed in this volume, the first genuinely comprehensive overview of his (...) work. The picture that emerges is of a thinker who, though critical to the point of scepticism, was nonetheless able to build on that scepticism a profoundly important, and still viable, constructive philosophy. (shrink)

David Hume is, arguably, the most important philosopher ever to have written in English. Although best known for his contributions to epistemology, metaphysics, and the philosophy of religion, Hume also made substantial and influential contributions to psychology and the philosophy of mind, ethics, the philosophy of science, political and economic theory, political and social history, and, to a lesser extent, aesthetic and literary theory. All facets of Hume's output are discussed in this volume, the first genuinely comprehensive overview of his (...) work. The picture that emerges is of a thinker who, though critical to the point of scepticism, was nonetheless able to build on that scepticism a profoundly important, and still viable, constructive philosophy. (shrink)

This collection of essays presents new insights into what shaped and constituted the Renaissance and early modern views of fate and fortune. It argues that these ideas were emblematic of a more fundamental argument about the self, society, and the universe and shows that their influence was more widespread, both geographically and thematically, than hitherto assumed.

A perennial subject of dispute in the Western philosophical tradition is whether human agents can be responsible for their actions even if determinism is true. By determinism, I mean the view that everything that happens is completely determined by antecedent causes. One of the least impressive objections that is leveled against determinism confuses determinism with a very different view that has come to be known as “fatalism”: this is the view that everything is determined to happen independently of human (...) choices, efforts, and deliberations. It is a common fallacy, among students contemplating the implications of determinism for the first time, to argue: “But if everything is determined in advance, then it doesn't matter what we decide to do; what is determined to happen will happen no matter what.” This argument fallaciously infers fatalism from determinism. (shrink)

Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear (...) of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

The author could have shown the other perspective also where fate or fortune is proclaimed to be in the hands of a person. It is notable that almost all of the translations and works she cites are by authors from outside the Indian tradition, with a Semitic bearing on their thought. The author comes a bit too strongly and without sufficient background material, in brushing aside as inconsequential, years of thought and philosophising in the Indian tradition. However, no Eastern (...) tradition gives a concrete validity to the existence of heaven and hell, and they are just some flavours in the religious stories and anecdotes, of which Puranas form a major part. Heaven, hell, fate, and fatalism are pronouncedly Semitic concepts. Had the author presented a balanced view, this book had the potential to become a remarkable work. (shrink)

James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding the (...) viewingof pornography Replete with examples and discussion of moving picturesthroughout. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges (...) of our seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

John Martin Fischer’s core project in Our Fate (2016) is to develop and defend Pike-style arguments for theological incompatibilism, i. e., for the view that divine omniscience is incompatible with human free will. Against Ockhamist attacks on such arguments, Fischer maintains that divine forebeliefs constitute so-called hard facts about the times at which they occur, or at least facts with hard ‘kernel elements’. I reconstruct Fischer’s argument and outline its structural analogies with an argument for logical fatalism. I (...) then point out some of the costs of Fischer’s reasoning that come into focus once we notice that the set of hard facts is closed under entailment. (shrink)

This book is about film's encounter with love throughout the medium's history. It is also about the philosophy of love... [it] outlines a new metaphysics and ontology of love as a reciprocal erotic relationship. This study argues that film's special narrative language is particularly well suited to depicting love in this way. It begins with early silent directors, such as Joseph von Sternberg, and concludes with contemporary filmmakers, such as Sophia Coppola; it also compares classical French and American love films (...) of the 1940s with modernist films by Luis Buñuel, François Truffaut, and Wong Kar Wai, amongst many others"--Page [4] of cover. (shrink)

Volumes 1 and 2 of Hume’s Treatise of Human Nature, first published in January 1739, were soon after publication the subject of five notices and four reviews. Volume 3, published at the end of October 1740, received no notices and was reviewed only in the Bibliothèque raisonnée. This anonymous review of vol. 3 is of interest not only for David Norton is Professor of Philosophy Emeritus, McGill University, and Adjunct Professor of Philosophy, University of Victoria. His address is 8-4305 Maltwood (...) Lane, Victoria, BC, Canada V8X 5G9. what it says about Hume’s views as set out in the third book of the Treatise, but also because of questions that have arisen about the authorship of this and an earlier review of vol. 1 of the Treatise published in the same journal. In Part I of this paper we begin by reviewing the grounds for attributing to Pierre Des Maizeaux the notice of vols. 1 and 2 of the Treatise published by the Bibliothèque raisonnée in its April–June, 1739 issue. We then focus principally on the question of the authorship of the review of vol. 3 of the Treatise published by the Bibliothèque raisonnée in its April–June, 1741 issue, but we also consider in passing the grounds that have been offered for attributing to Francis Hutcheson the critical components of the Bibliothèque raisonnée review of vol. 1 of the Treatise. In Part II of the paper we present a transcription of the French text, never before reprinted, of this review. Part III is a new English translation of this text. In an effort to show the differences between the sense of the Treatise presented by translated quotations of it and Hume’s original texts, Part IV offers some three-column comparisons of three relatively lengthy French “quotations” of Treatise 3 found in the review, our back-translations of these texts, and the versions of these texts found in the Treatise. It then offers in a similar format, comparisons of the present and earlier translations of passages of the review of vol. 3. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational (...) momentum indicate that motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

John Martin Fischer’s core project in Our Fate is to develop and defend Pike-style arguments for theological incompatibilism, i. e., for the view that divine omniscience is incompatible with human free will. Against Ockhamist attacks on such arguments, Fischer maintains that divine forebeliefs constitute so-called hard facts about the times at which they occur, or at least facts with hard ‘kernel elements’. I reconstruct Fischer’s argument and outline its structural analogies with an argument for logical fatalism. I then (...) point out some of the costs of Fischer’s reasoning that come into focus once we notice that the set of hard facts is closed under entailment. (shrink)

This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the communicative nature of embodied vision (...) also figures into play. The principal phenomenological frameworks taken up are those of Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, as well as the work of contemporary film scholar Vivian Sobchack. (shrink)

“Foreknowledge, Fate and Freedom” is concerned with diagnosing and debunking a pervasive and prevalent folk intuition: that a foreknown future would be problematically, and freedom-hinderingly, fixed. In it, I discuss foreknowledge in and of itself, but also as a lens through which we can examine other intuitions and concepts: the apparent asymmetry of future and past; worries about fate and free will; notions of coincidence and likelihood; assumptions about God, time travel and ourselves. This thesis provides the first (...) philosophical map of a region of conceptual space visited often by the folk and popular culture, and as a result ties together a host of disparate threads in the literature. I make three central claims: 1. The folk intuition is wrong in rejecting foreknowledge wholesale on the basis that it entails a problematically fixed future, and thereby undermines our freedom. 2. Foreknowledge gives rise to new problems, and sheds new light on old ones, but none of these are insurmountable. 3. The same paradoxes thought to plague backwards time travel can arise in foreknowledge cases, and can be defused in the same way. I conclude that foreknowledge is puzzling, but possible: it neither inevitably entails fatalism nor precludes free will. While its consequences may be strange, they are not sufficient to vindicate the folk intuition. (shrink)

Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can (...) serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with (...) contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

Syntactic templates serve as schemas, allowing speakers to describe complex events in a systematic fashion. Motion events have long served as a prime example of how different languages favor different syntactic frames, in turn biasing their speakers toward different event conceptualizations. However, there is also variability in how motion events are syntactically framed within languages. Here, we measure the consistency in event encoding in two languages, Spanish and Swedish. We test a dominant account in the literature, namely that (...) variability within a language can be explained by specific properties of the events. This event-properties account predicts that descriptions of one and the same event should be consistent within a language, even in languages where there is overall variability in the use of syntactic frames. Spanish and Swedish speakers (N= 84) described 32 caused motion events. While the most frequent syntactic framing in each language was as expected based on typology (Spanish: verb-framed, Swedish: satellite-framed, cf. Talmy,2000), Swedish descriptions were substantially more consistent than Spanish descriptions. Swedish speakers almost invariably encoded all events with a single syntactic frame and systematically conveyed manner of motion. Spanish descriptions, in contrast, varied much more regarding syntactic framing and expression of manner. Crucially, variability in Spanish descriptions was not mainly a function of differences between events, as predicted by the event-properties account. Rather, Spanish variability in syntactic framing was driven by speaker biases. A similar picture arose for whether Spanish descriptions expressed manner information or not: Even after accounting for the effect of syntactic choice, a large portion of the variance in Spanish manner encoding remained attributable to differences among speakers. The results show that consistency in motion event encoding starkly differs across languages: Some languages (like Swedish) bias their speakers toward a particular linguistic event schema much more than others (like Spanish). Implications of these findings are discussed with respect to the typology of event framing, theories on the relationship between language and thought, and speech planning. In addition, the tools employed here to quantify variability can be applied to other domains of language. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.

Charles Lyell’s Principles of Geology is widely regarded as one of the great works of 19th century science, and one of the most influential works in the entire history of the earth sciences. Yet the standard critical interpretation of the Principles makes such high regard and influence look puzzling at best. We are told, for instance, that Lyell’s argument rests on a contentious a priori methodological distinction between scientific and non-scientific explanations, the former featuring observed causes at their present intensities, (...) the latter featuring anything else. 2 We are also told that Lyell simply assumes a priori that. (shrink)

David and Mary Norton present the definitive scholarly edition of one of the greatest philosophical works ever written. This second volume begins with their 'Historical Account' of the Treatise, an account that runs from the beginnings of the work to the period immediately following Hume's death in 1776, followed by an account of the Nortons' editorial procedures and policies and a record of the differences between the first-edition text of the Treatise and the critical text that follows. The volume continues (...) with an extensive set of 'Editors' Annotations', intended to illuminate Hume's texts; a four-part bibliography of materials cited in both volumes; and a comprehensive index. (shrink)

David and Mary Norton present the definitive scholarly edition of one of the greatest philosophical works ever written. This first volume contains the critical text of David Hume's Treatise of Human Nature, followed by the shortin which Hume set out the key arguments of the larger work; the volume concludes with A Letter from a Gentleman to his Friend in Edinburgh, Hume's defence of the Treatise when it was under attack from ministers seeking to prevent Hume's appointment as Professor of (...) Moral Philosophy at the University of Edinburgh. (shrink)

This volume considers the numerous philosophical ideas and arguments found in and inspired by the critically acclaimed series Breaking Bad. This show garnered both critical and popular attention for its portrayal of a cancer-stricken, middle-aged, middle-class, high school chemistry teacher’s drift into the dark world of selling methamphetamine to support his family. Its characters, situations, and aesthetic raise serious and familiar philosophical issues, especially related to ethics and morality. The show provokes a bevy of rich questions and discussion points, such (...) as: What are the ethical issues surrounding drugs? What lessons about existentialism and fatalism does the show present? How does the show grapple with the concept of the end ‘justifying’ the means? Is Walt really free not to ‘break bad’? Can he be redeemed? What is the definition and nature of badness itself? Contributors address these and other questions as they dissect the legacy of the show and discuss its contributions to philosophical conversations. (shrink)

Defining ‘presentism’ in a way that saves it from being trivially false yet metaphysically substantively distinct from eternalism is no mean feat, as the first part of this collection testifies. In Wuthrich (forthcoming), I have offered an attempt to achieve just this, arguing that this is best done in the context of modern spacetime theories. Here, I shall refrain from going through all the motions again and simply state the characterization of an ersatzist version of presentism as it has emerged (...) from considerations there. Any acceptable formulation of presentism should remain neutral among competing spacetime theories in order to enable the present project of assessing the compatibility of presentism with various theories of modern physics, including both spacetime theories and theories of physical processes situated in a spatiotemporal setting. (shrink)

The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.

CHAPTER ONE INTRODUCTION Previous studies of fortuna in ancient and medieval culture are numerous — to be found as full-length monographs, articles and...

[Frank Ebersole is a philosopher] "whose contribution to philosophy... is the greatest of anyone this [the 20th] century, especially in the areas of philosophy of language, theory of knowledge, and perception." from Wittgenstein, Empiricism, and Language by John W. Cook (Oxford University Press, 1999). Language and Perception has nine chapters: seven that address philosophical problems about language and two (chapters 2 and 9) that are more metaphilosophical The metaphilosophical chapters discuss philosophical pictures and some of Frank Ebersole's basic ideas (...) about philosophy. The other seven essays let you participate in his unique struggles to come to terms with such questions as: What is the meaning of a word? Isn't Wittgenstein's idea that things called by the same name have family resemblances significantly flawed? Does language determine what we perceive? Does a thing's being red cause it to look red (the causal theory of perception)? Must the action of speaking be analyzed into simpler actions such as making sounds? Can a bodily movement be part of an action? Is fatalism implied by "what one might say" about the future? Are "natural-kind" words like proper names? are they rigid designators? This and its companion volume, Meaning and Saying, are not just other philosophy books about the philosophy of language. In both books Ebersole, by carefully using examples, convincingly shows that the problems are the products of philosophical pictures. The examples also make the pictures less compelling. How the Second Edition Differs from the First Edition This edition differs from the first edition (University Press of America, 1979) in several ways. Pictures: Material that was formerly part of a postscript to chapter 1 has been revised and is now its own chapter, chapter 2, "Pictures and Wittgenstein on Pictures." As a result the following chapters were renumbered. Essay removed: Chapter 7 in the first edition, "Truth and Fate: Future Actions," has been removed. Essay added: A new essay, entitled "Proper Names and Other Names," has been added to the volume. It's a revised version of an essay originally published in Philosophical Investigations, Oct., 1982, with the title "Stalking the Rigid Designator." Postscript: Material that was formerly part of the preface is now revised and placed as chapter 9 at the end, entitled "Postscript." Improved text: Throughout the book, Ebersole has made corrections, stylistic improvements, and changed the wording to remove ambiguities. Preface The book is concerned with questions about the "relations of language to reality": Does physical reality predetermine the form of our language? Does it determine the kinds of words in our simple, basic vocabulary? Does our language in basic ways determine the way we perceive reality? Does our language embody the outlines of a certain theory of perception? And does it incorporate a certain view of human actions and of the future? These questions are expressions of the problems in the philosophy of language that people inevitably get themselves into while dealing with other philosophical problems. And these are problems in the philosophy of language that have direct consequences for the way one deals with problems in other branches of philosophy. At. (shrink)

A Treatise of Human Nature, David Hume's comprehensive attempt to base philosophy on a new, observationally grounded study of human nature, is one of the most important texts in Western philosophy. It is also the focal point of current attempts to understand 18th-century western philosophy. The Treatise addresses many of the most fundamental philosophical issues: causation, existence, freedom and necessity, and morality. The volume also includes Humes own abstract of the Treatise, a substantial introduction, extensive annotations, a glossary, a comprehensive (...) index, and suggestions for further reading. (shrink)

Against the backdrop of the relations between Alexander of Aphrodisias and Bardaisan and Origen, and of Diodore of Tarsus’ reading of Bardaisan, this article reflects on Bardaisan’s ideas towards free will, fate, and nature in the so-called Book of the Laws of Countries, based on Bardaisan’s Against Fate. With reference to the article by Izabela Jurasz on the comparison between Alexander and Bardaisan, I present the main topics that scholarship debates regarding Bardaisan and argue that Eusebius had already (...) found important parallels between Alexander, Barsaisan, and Origen. Attention is paid to the strong affinities on crucial questions between Bardaisan and Origen, as established by recent research. These two comparisons—between Alexander and Bardaisan and between Origen and Bardaisan—reinforce one another. Bardaisan’s knowledge of parts of Philo’s oeuvre is also brought to the fore as an issue recently explored and in need of further investigation. Lastly, the article focuses on Diodore of Tarsus’ Against Fate, its indebtedness to Bardaisan’s Against Fate and generally his anti-astrological, anti-fatalistic arguments, and its reproach to Bardaisan for maintaining the category of “fate,” albeit Christianized. (shrink)