In the growing body of academic literature on biography that has developed in the last few decades, Virginia Woolf's essay, "The New Biography,"1 has come to occupy a central place—mentioned, discussed and quoted from, I would estimate, more often than any other piece of writing on the subject. Virginia Woolf's distinctive view of the nature and limitations of biography has thus had, and continues to have, a deep and wide-ranging influence on the way the genre is discussed by critics and (...) theorists. My aim in this essay is to present a detailed analysis of Virginia Woolf's thinking about biography in order to make clear why I believe its influence on contemporary theorising about biography is, on the whole, a misfortune. As is often pointed out, Virginia Woolf's views on biography are closely connected with—indeed, to an extent that I hope to make clear, they are simply an application of—her views on fiction. In the light of this, I have tried to trace some of the most striking features of her thinking about biography back to her earlier thoughts on fiction, as presented in both her novels and her essays. The result, I hope, will be that, while the attractions of her way of looking at fiction and biography are recognised and revealed, the manifest flaws in her thinking on these subjects are clearly exposed. (shrink)

Eleven original essays discuss a range of puzzling philosophical questions about fictional characters, and more generally about fictional objects. For example, they ask questions like the following: Do they really exist? What would fictional objects be like if they existed? Do they exist eternally? Are they created? Who by? When and how? Can they be destroyed? If so, how? Are they abstract or concrete? Are they actual? Are they complete objects? Are they possible objects? How many fictional objects are (...) there? What are their identity conditions? What kinds of attitudes can we have towards them? This volume will be a landmark in the philosophical debate about fictional objects, and will influence higher-level debates within metaphysics, the philosophy of mind, and the philosophy of language. (shrink)

_An engaging look at the philosophical underpinnings of Earth's Mightiest Heroes_ Avengers assemble! Tackling intriguing dilemmas and issues that no single great philosopher can withstand, this powerful book enlists the brainpower of an A-list team of history's most prominent thinkers to explore the themes behind the action of Marvel Comics' all-star superhero team. Arms you with new insights into the characters and themes of _The Avengers_ Deepens your appreciation both of _The Avengers_ comics and the Joss Whedon movie adaptation (...) Answers the philosophical questions you've always had about Earth's Mightiest Heroes, including: Can a reformed criminal become a superhero? Can an android love a human? If a hero beats his wife, is he still a hero? Helps you think differently about the members of the superhero team—Captain America, Iron Man, Thor, and the others This thought-provoking book will help you understand this band of superheroes better, whether you've followed the Avengers for years or are a Joss Whedon fan just getting to know them. (shrink)

Emphasizing the philosophical debates raised by generations of devoted fans, this intriguing volume will be of interest to philosophers and Holmes enthusiasts alike.

This is the first in-depth philosophical investigation of Doctor Who in popular culture.

Untangle the complex web of philosophical dilemmas of Spidey and his world—in time for the release of The Amazing Spider-Man movie Since Stan Lee and Marvel introduced Spider-Man in Amazing Fantasy #15 in 1962, everyone’s favorite webslinger has had a long career in comics, graphic novels, cartoons, movies, and even on Broadway. In this book some of history’s most powerful philosophers help us explore the enduring questions and issues surrounding this beloved superhero: Is Peter Parker to blame for the death (...) of his uncle? Does great power really bring great responsibility? Can Spidey champion justice and be with Mary Jane at the same time? Finding your way through this web of inquiry, you’ll discover answers to these and many other thought-provoking questions. Gives you a fresh perspective and insights on Peter Parker and Spider-Man’s story lines and ideas Examines important philosophical issues and questions, such as: What is it to live a good life? Do our particular talents come with obligations? What role should friendship play in life? Is there any meaning to life? Views Spider-Man through the lens of some of history’s most influential thinkers, from Aristotle, Thomas Aquinas, and Immanuel Kant to Nietszche, William James, Ayn Rand, and Alasdair MacIntyre. (shrink)

We cannot escape Indiana Jones! (Not that we would want to, of course.) Harrison Ford deserves credit for the character's popularity. His ability to subtly play up Indy's foibles while playing down the character's heroism, makes Indiana Jones relatable. Of course, Lucas and the screenwriters are also responsible, as they magnificently depict Indy battling antagonists seeking to possess mystical objects for world domination. But Indy is no mere action hero. He also struggles with unrequited love that lingers for decades, an (...) estrangement from his over-bearing father that lasts just as long, and a life-long obsession with regaining an important object unfairly taken from him. As we know, Indy doesn't always choose wisely, and if the Young Indiana Jones Chronicles are to be trusted, he made many missteps in his youth on the way to becoming the hero we know and love. Indy loses a fight as often as he wins, and when he wins, he doesn't always fight fairly. In fact, he stumbles so often, one might wonder why he persists decade after decade toward his goals. He's not getting any younger. What's the point? And, as he inexplicably trudges on, he-in the four films and various graphic novels-has many alleged encounters with the supernatural. He's not a religious person (at all), so what should he make of those? Should he take the leap of faith and become a believer? While we often see him conducting his highly unconventional fieldwork, spending an unusual amount of time in caves, he cannot completely ignore his "day job" teaching undergraduates and aiding their pursuit of knowledge. But why should archaeologists strive to put artifacts in a museum, or search for "fact," but not "truth" (and who is Dr. Tyree, anyway)? The Indiana Jones character is expressive of the human condition, vividly illuminating our struggles and issues on the big screen. True, we don't have John Williams's orchestra filling us with pride when we manage to do the right thing or play the part of the hero. Still, no one would blame you if you imagined Indy's theme blaring in the background while rising to meet a challenge! (shrink)

Cosa sono i personaggi e gli oggetti fittizi? E soprattutto: esistono almeno in un qualche senso? Per rispondere a queste domande i filosofi, dalla metà del ‘900 fino ai nostri giorni, hanno proposto teorie interessanti e originali. Il libro si propone di ripercorrere questo dibattito con un atteggiamento critico e di proporre alla fine una caratterizzazione delle entità fittizie diversa da quelle presenti nella letteratura filosofica.

In this splendidly preposterous volume, John Tyerman Williams sets out to prove beyond all reasonable doubt that the whole of Western philosophy - from the ancient Greeks to the existentialists of this century - may be found in the works of A. A. Milne. Williams shows how Pooh - referred to here as "the Great Bear" - explains and illuminates the most profound ideas of the great thinkers, from Aristotle and Plato to Sartre and Camus.

The bipartite Philosophical and Translatological Wanderings in Moominvalley explores Tove Jansson's renowned children's classic to illumine its inherent double-address mode. Part one discusses the plentiful philosophical hypotexts of the Moomin series, ranging from Parmenides to Westermarck and geared to an adult readership. Part two examines the Polish translation of anthroponyms, humour and cuisine terms as central to the Moominvalley idiom and the poetics of the saga. The identification of translation techniques and linguistic shifts offers comparative insights into the modes of (...) address of the source and the target texts. Highlighting the triumphs and failures of the Polish Moomin books, the argument spells out the implications of double address for translation and translation studies. (shrink)

The article combines later Wittgenstein’s fictitious language games, along with the forms of life associated with them, with the concept of otherness and places them both within the philosophy of education. The account of otherness overlaps with the view of fictional language games in that the latter deviates from our ordinary, extant uses of language and our Lebensform, and thus can be perceived as extraordinary, unusual, strange, and sometimes nonsensical. The advantages of dealing with such construed preposterousness rely, first, (...) on its leading to a better understanding of our own form of life; second, on its opening a window on the changing of our form of life; third, on its acquainting us with the other. The educational roles of it are presented, first, as being needed at the very beginning of a child’s language learning, when the learner probes the limits of sense and thus enters the domain of otherness; second, as freeing children from the tyranny of adults’ norms and showing the norms that adults accept as absurd; thirdly, as puzzlement that gives an impulse to our thought development, which occurs in contact with the other. Therefore, it is claimed that Wittgenstein’s later philosophy opens perspectives on educational thinking not only in terms of teacher training (Abrichtung) of the learner to follow the rules of existing practices, but also in terms of imagination and critical attitude towards the existing forms of life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and feeling are (...) very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and feeling are (...) very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

This paper investigates the concept of emotion and its relevance to education via character education through the medium of poetry. The objective is to demonstrate the potential implementation of character education through poetry, and to show the intrinsic link between poetry and virtue, knowledge and reasoning. It is argued that poetry serves as a bridge between emotion and character education. The philosophy of emotions is explored through the works of Aristotle, Karin Bohlin and David Carr. Character education is understood in (...) terms of a Neo-Aristotelian approach, drawing on Kristján Kristjánsson, Bohlin and Carr. My position is that, through exercising the craft of poetry, children and young students are provided with tools for exploring emotions, and for discerning and deliberating about virtues and moral contextual nuances in the broader context of human experience. (shrink)

Strange and Stranger: The World of Steve Ditko is an art book tracing Ditko's life and career, his unparalleled stylistic innovations, his strict adherence to his own (and Randian) principles, with lush displays of obscure and popular art from the thousands of pages of comics he's drawn over the last 55 years.

How do philosophical discourse and poetic expression relate? The divergent modes of expression of ‘logical thinking’ and ‘thinking through the senses’, i.e. of philosophy and verbal art, are explored by means of philosophical texts and poems on seven topics, viz. the aesthetic experience, language, being, time, identity, knowledge and love. This examination leads the author to conclude that there are ‘family resemblances’ between philosophical discourse and poetic language, rather than clear-cut distinctions. Yet, the poetic expression is marked by its form, (...) its fictitious character and the symbolic treatment of language. The main contrasts between poetry and philosophy and between their respective idioms prove to be the use of the ‘logic of imagination’ versus the ‘logic of the intellect’; of inductive versus deductive thinking and of the presence of the first personal pronoun, the ‘lyrical I’, versus the anonymous third personal pronoun. (shrink)

Although standard ethical views categorize intentional torture as morally wrong, the ticking time bomb scenario is frequently offered as a legitimate counter-example that justifies the use of torture. In this scenario, a bomb has been placed in a city by a terrorist, and the only way to defuse the bomb in time is to torture a terrorist in custody for information. TTB scenarios appeal to a utilitarian “greater good” justification, yet critics maintain that the utilitarian structure depends on a questionable (...) set of hidden assumptions. Three experiments were conducted to investigate endorsement of torture when these hidden assumptions were violated. In Experiment 1, results indicated that endorsement varied as a function of the success likelihood of torture and its alternatives. In Experiment 2, people found torture to be more acceptable, less wrong, and more obligatory when the suspect in custody was described as a “terrorist” than when he was described simply as an individual, and when he was described as culpable as opposed to innocent. These results are more consistent with retributive justice than utilitarian “greater good” concerns. The results of Experiment 3 indicated that utilitarian decision profiles were not associated with lower levels of empathic concern but were instead associated with personal distress and the ability to transpose oneself into a fictitious character's experience. Across the three experiments, deontologists were more likely to reject torture than utilitarians. (shrink)

The Character of Mind provides a sweeping and accessible general introduction to the philosophy of mind. Colin McGinn covers all of the main topics--the mind-body problem, the nature of acquaintance, the relation between thought and language, agency, and the self.In particular, McGinn addresses the issue of consciousness, and the difficulty of combining the two very different perspectives on the mind that arise from introspection and from the observation of other people. This second edition has been updated with three new cutting-edge (...) chapters on consciousness, content, and cognitive science to make it the reader of choice on this vital topic. (shrink)

This paper discusses the growing prominence of character education and the role moral philosophy can play here. It examines the place of inquiry in character education, and the ways in which moral philosophy can help young people to develop the virtue of reasonableness. Reasonableness, as herein described, takes into account the views and feelings of others, the willingness to allow one’s views to be scrutinized by others, and the acceptance of some degree of uncertainty about whether one’s views are necessarily (...) right. The paper illustrates ways in which philosophical exploration about morality can help children to cultivate reasonableness. (shrink)

The aim of this essay is to synthesize as well as to analyze the conceptual evolution of 1860s Russian nihilism in general and its notion of negation in particular. The fictitious characters that traditionally have been informing the popular notion of “Russian nihilism” mainly refer to an antinihilistic genre. By analyzing nihilism also on the basis of primary sources, the antinihilistic notion of nihilism is nuanced, enabling a more comprehensive analysis of the movement’s different aspects. In some instances, (...) Russian nihilism has been taken out of context and portrayed as a monolith; its pursuit of “negation” interpreted literally. In this essay, a dialectical relation emerges, between affirmation and negation on the one hand as well as between the nihilist “children” and their idealist “fathers” on the other. Despite its radical stance, nihilism consists of a reconciliation of opposites. Although nihilists fought for autonomy, revolution and a new society, the movement was ironically stuck in a continuous negation of its inspirers and forerunners. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:220 THEATRE AND RELIGIOUS HYPOTHESIS* We are placed in this world, as in a great theatre, where the true springs and causes of every event are entirely concealed from us.... David Hume La collection des idées s'appelle imagination, dans la mesure où celleci désigne, non pas une faculté, mais un ensemble des choses, au sens le plus vague du mot, qui sont ce qu'elles paraissent: collection sans album, pièce (...) sans théâtre, ou flux des perceptions.. Gilles Deleuze In Part III of Hume's Dialogues concerning Natural Religion the character Demea contests the analogy drawn by Cleanthes between an orderly world and a coherent, articulate speech, stating that, When I read a volume, I enter into the mind and intention of the author: I become him, in a manner, for the instant; and have an immediate feeling and conception of those ideas, which revolved in his imagination, while employed in that composition. To begin reading Hume's Dialogues with such false and naive premises would inevitably result in a failure to pick up on all the different voices in this text. In fact, no written text can really enable a reader "to enter into the mind and intention of the author." Moreover, such a predisposition on behalf of a naive reader will become further complicated by the processes of 'distanciation' and avoidance of a central point of view, which are brought into play by Hume in this text, where religion is being considered from a purely speculative point of view. Hume has in fact given the reader a clue in the introduction as to how 221 to approach reading the Dialogues. when Pamphilus, the narrator, expounds to his friend Hermippus the advantages of presenting a discussion in the form of a dialogue rather than as a direct statement. He argues that by using a dialogue it is possible to avoid any overtones of an author addressing his reader, or a pedagogue his pupil (D 127). Confronted with a text that is paradoxically both lucid and unclear, any reader whose attitude is still limited by certain metaphysical categories might very well want to know who is actually Hume's spokesman and who he is really addressing in this discussion on the nature and existence of God. These questions are in fact related to traditional oppositions, such as that between a central and subsidiary point of view in a dialogue; between the essential and non-essential of a discussion. In his Dialogues, Hume creates a second degree of separation between himself and the characters involved in the discussion by using the literary process of 'distanciation', when he introduces the fictitious character Pamphilus, who tells Hermippus of the discussions he has heard. From this point of view the style of the text is immediately more disconcerting than Cicero's De Natura Deorum, (which inspired Hume's text), as Cicero does identify himself with his narrator, such that any effect of distanciation is far smaller. Cicero's narrator does, however, emphasize that the multiplicity of points of view in this text results in a certain degree of scepticism and suspension of judgement: "Though it is possible that they are all of them false, it is impossible that more than one of them is true" (p. 71). As Hume does in his Dialogues, Cicero here tries to avoid imposing a 222 central point of view or a single authoritative angle to his discussions, as if given by a teacher; in fact, "in a discussion of this kind our interest should be centred not on the weight of the authority but on the weight of the argument" (p. 73). Thus, wearing the mask of Pamphilus, Hume can play an ironic role, without having to give a central point of view, by having his character present the idea that "reasonable men may be allowed to differ, where no one can reasonably be positive" (D 128). These two texts therefore use the same process of disassociation from a central truth by using a supposedly neutral narrator. When reading the Dialogues one can rely neither on the authority of the author, as he has hidden himself away in the shadows backstage, nor on that... (shrink)

Since ancient times, character, virtue, and happiness have been central to thinking about how to live well. Yet until recently, philosophers have thought about these topics in an empirical vacuum. Taking up the general challenge of situationism – that philosophers should pay attention to empirical psychology – this interdisciplinary volume presents new essays from empirically informed perspectives by philosophers and psychologists on western as well as eastern conceptions of character, virtue, and happiness, and related issues such as personality, emotion and (...) cognition, attitudes and automaticity. Researchers at the top of their fields offer exciting work that expands the horizons of empirically informed research on topics central to virtue ethics. (shrink)

The determination of the meaning of theoretical terms by the axioms of theories as meaning postulates and the merely fictitious character of a basic observational language leads to Feyerabends problem of the incommensurability of physical theories. Different theories are actually compared by physicists as well. They might have a common sub-language as the language of macroscopic physics in atomic physics. Furthermore shared metalaws define an equivalence relation which identifies terms of different theories and enables physicists to talk about them (...) in a common language. (shrink)

The determination of the meaning of theoretical terms by the axioms of theories as meaning postulates and the merely fictitious character of a basic observational language leads to Feyerabends problem of the incommensurability of physical theories. Different theories are actually compared by physicists as well. They might have a common sublanguage as the language of macroscopic physics in atomic physics. Furthermore shared metalaws (e. g. invariance principles) define an equivalence relation which identifies terms of different theories and enables physicists (...) to talk about them in a common language. (shrink)

This book contains new work on character from the perspectives of philosophy, theology, and psychology. From a virtual reality simulation of the Milgram shock experiments, to understanding the virtue of modesty in Muslim societies, to defending soldiers’ moral responsibility for committing war crimes, these chapters break new ground and significantly advance our understanding of character. The main topics covered fall under the heading of our beliefs about character, the existence and nature of character traits, character and ethical theory, virtue epistemology, (...) the nature of particular virtues, character development, and challenges to character and virtue from neuroscience and situationism. The book significantly shapes discussions of character in scholarship. (shrink)

What roles does Iwa [character in Yoruba belief] play in Yoruba philosophy of existence, and how can these roles help provide a solution to challenges of contemporary socio-political order, not only in Africa but also across the globe? Both are the daunting questions this paper sets out to examine. The foundation of Yoruba philosophy of existence is predicated mainly on the moral pivot called iwa. It is on iwa, which has both ontological and ethical etymologies that the meaning of life (...) is based. Iwa regulates the social relations among people, and adherence to it within the Yoruba cultural matrix provides answers to complex questions of existence. It is submitted that the moral foundation of Yoruba philosophy of existence, as dictated by iwa, is a veritable basis for engendering normative principles for addressing problems in contemporary society as it harmonizes disparate interests for the common good, thereby reconciling the self with the other. (shrink)

There is a prevalent assumption that the phenomenal character of a mental experience is an ontological property existing as part of the fabric of the world. This implies that the problem of explaining the phenomenal property of a mental experience is a metaphysical one. Contrary to this assumption, the present paper argues that phenomenal properties of mental experiences are the results of our epistemological perspectives of the world. Consequently, the paper contends that in developing issues for African Philosophy of Mind, (...) care must, ab initio, be taken to avoid the metaphysical pitfalls of considering phenomenal characters or properties of mental states to be part of the fabric of the world. (shrink)

In the first ever book-length treatment of David Hume’s philosophy of action, Constantine Sandis brings together seemingly disparate aspects of Hume’s work to present an understanding of human action that is much richer than previously assumed. Sandis showcases Hume’s interconnected views on action and its causes by situating them within a wider vision of our human understanding of personal identity, causation, freedom, historical explanation, and morality. In so doing, he also relates key aspects of the emerging picture to contemporary concerns (...) within the philosophy of action and moral psychology, including debates between Humeans and anti-Humeans about both 'motivating' and 'normative' reasons. Character and Causation takes the form of a series of essays which collectively argue that Hume’s overall project proceeds by way of a soft conceptual revisionism that emerges from his Copy Principle. This involves re-calibrating our _philosophical_ ideas of all that agency involves to fit scheme that more readily matches the range of impressions that human beings actually have. On such a reading, once we rid ourselves of a _certain_ kind of metaphysical ambition we are left with perfectly adequate account of how it is that people can act in character, freely, and for good reasons. The resulting picture is one that both unifies Hume's practical and theoretical philosophy and radically transforms contemporary philosophy of action for the better. (shrink)

This is a new release of the original 1924 edition.

In this paper we argue that an operational organism concept can help to overcome the structural deficiency of mathematical models in biology. In our opinion, the structural deficiency of mathematical models lies mainly in our inability to identify functionally relevant biological characters in biological systems, and not so much in a lack of adequate mathematical representations of biological processes. We argue that the problem of character identification in biological systems is linked to the question of a properly formulated organism (...) concept. Lastly, we demonstrate how a decomposition of an organism into independent characters in the context of a specific biological process—such as adaptation by means of natural selection—depends on the dynamical properties and invariance conditions of the equations that describe this process. (shrink)

A correct observation to the effect that a does not exist, where ‘a’ is a singular term, could be true on any of a variety of grounds. Typically, a true, singular negative existential is true on the unproblematic ground that the subject term ‘a’ designates something that does not presently exist. More interesting philosophically is a singular, negative existential statement in which the subject term ‘a’ designates nothing at all. Both of these contrast sharply with a singular, negative existential in (...) which the subject term is a name from fiction. I argue that such singular, negative existential statements are false. My account of fictional characters differs significantly from Kripke’s. It is shown that an objection to my account rests on a serious misunderstanding. Finally, a crucial aspect of the account is emphasized. (shrink)

Abstract:This paper is a further development of two previous pieces of work (Moore 2002, 2005) in which modern virtue ethics, and in particular MacIntyre’s (1985) related notions of “practice” and “institution,” have been explored in the context of business. It first introduces and defines the concept of corporate character and seeks to establish why it is important. It then reviews MacIntyre’s virtues-practice-institution schema and the implications of this at the level of the institution in question—the corporation—and argues that the concept (...) of corporate character follows from, but is a novel development of, MacIntyre’s schema. The paper contrasts corporate character and virtues with the more familiar concepts of corporate culture and values. The constitutive and substantive elements of corporate character, including the essential corporate virtues, are then drawn out and illustrated with reference to the cases explored in Koehn (1998). Finally, the paper acknowledges and counters a specific criticism of this approach. (shrink)

Constantine Sandis's suggestive new book consists of a series of discrete studies of aspects of Hume's philosophical system that culminate in an argument for the conclusion that "on Hume's view... we are only morally responsible for that subset of actions that have been motivated by our character traits". That final conclusion is the end of a wide-ranging and systematic argument that feels too compressed in the scant one-hundred and twenty-three pages in which it is presented, especially since the philosophical and (...) exegetical theses that Sandis presents along the way are intriguing and receive just enough support to make the reader long for a more robust consideration of them.Sandis's grand argument begins... (shrink)

The untranslatable and intriguing notion of ethos (mores, goodness, character, etc.) contrasts in Ancient rhetoric with pathos and logos, the other two pisteis or means of persuasion. Rhetorical ethos is characterized by ambivalence; is it essentially extra- or intra-discursive? an effect of the soul or an effective simulacrum? stable or circumstantial? As a discursive image, an artefact of speech, ethos remains problematic in its legitimacy. As shown in this volume, Montaigne's readings of Ancient theories of ethos resonate in the Essais. (...) The rhetorical effectiveness of Plutarch and Socrates versus Brutus and Seneca, for instance, is assessed in terms of ethos and a revealing style. Montaigne weighs rhetorical and ethical theories as he judges the writings of others, stages diverse types or characters, and develops in his book his own notion of ethos, paradoxical and dynamic, changing as is our soul. A variety of ethe narrated or enacted are also examined: Stoic figures and philosophers, generals, courtiers and honnetes hommes, Indians, tragic heroes and heroines, among others. This collection of essays, beyond Montaigne studies, contributes to intellectual history, and to rhetorical, ethical, and political inquiry, for the early modern period and beyond. Montaigne's quest for more human and humane modes of expression and action can be better understood in light of the notion of ethos, which raises issues of representation, subjectivity, social interaction, moral philosophy, politics, pragmatics, anthropology and identity. The contributors to this volume offer fresh new voices in the art of conversation about the Essais as they explore the many ramifications of Montaigne's ethos and the manifold ethe he brings forth. (shrink)

This article is devoted to the crisis of the modern philosophy caused by the generally accepted approach towards the ontology issues of existence and the ways to solve these problems. Before Kant’s theory the fundamental principle of the universe organization in the ontology was the determination of the existence as the number of objects that were independent from the subject and explored as they were. Kant showed then that the subject deals only with the images of its own conscience. The (...) existence became not the thing-in-itself, but the thing, that opens to the human mind. But this experience gave no answer to the question about the differences between the immanent perceptions of conscience and the universe itself. This article reveals that the transition from the understanding of things as independent existing objects toward the understanding of their subjective origin as objects themselves demands more radical conclusions. These conclusions consist of that fact that the ontology should concentrate more exploring existence as the unformed organic whole and not to forget about its general problemsand presentations about the conscience. Currently we can get non-verbal knowledge about the existence itself and take steps of getting verbal one. Separation of the existence as the unformed organic whole from the presentations of conscience prevents from mistake of determining the things created by the subject in the process of universe perception as its attributes (the plurality of interpretations turns into the ontology pluralism). (shrink)

This article is devoted to the crisis of the modern philosophy caused by the generally accepted approach towards the ontology issues of existence and the ways to solve these problems. Before Kant’s theory the fundamental principle of the universe organization in the ontology was the determination of the existence as the number of objects that were independent from the subject and explored as they were. Kant showed then that the subject deals only with the images of its own conscience. The (...) existence became not the thing-in-itself, but the thing, that opens to the human mind. But this experience gave no answer to the question about the differences between the immanent perceptions of conscience and the universe itself. This article reveals that the transition from the understanding of things as independent existing objects toward the understanding of their subjective origin as objects themselves demands more radical conclusions. These conclusions consist of that fact that the ontology should concentrate more exploring existence as the unformed organic whole and not to forget about its general problemsand presentations about the conscience. Currently we can get non-verbal knowledge about the existence itself and take steps of getting verbal one. Separation of the existence as the unformed organic whole from the presentations of conscience prevents from mistake of determining the things created by the subject in the process of universe perception as its attributes (the plurality of interpretations turns into the ontology pluralism). (shrink)

In this paper, I will explore how the work of Wallace Stevens constitutes a phenomenology that resonates strongly with that of William James. I will, first, explore two explicit references to James in the essays of Stevens that constitute a misrepresentation of a rather duplicitous quote from James’ personal letters. Second, I will consider Stevens’ little known lecture-turned-essay, “A Collect of Philosophy,” and the poem, “Large Red Man Reading,” as texts that are both about a conception of poetryphilosophy as well (...) as being performances of poetry-philosophy. Finally, I will compare James’ and Stevens’ thought on the imagination, highlighting both form and content and the poetic-philosophical union or blend that makes possible those similarities. (shrink)

A popular protective chant in South‐East Asia and Sri Lanka salutes eight arahats, companions of Gotama Buddha. The chant says that these arahats “sit” to protect the person who chants to them, with the Buddha at the center. The nature of arahatship is an issue that needs to be addressed. In an early Buddhist Abhidhamma root chant, three kinds of states are described: those of beings not in training, those of beings in training, and those of beings who are neither (...) in nor not in training. Two figures tower over early Buddhism: Sāriputta and Moggallāna, the chief disciples of the Buddha. The presence and description of female arahats is a testament to the Buddha's rejection of caste, gender, or status as an impediment to meditation and the attainment of enlightenment. In the study of Buddhist texts it is inevitably the doctrinal and philosophical expositions that have received the most attention. (shrink)