Research devoted to characterizing phenomena is underappreciated in philosophical accounts of scientific inquiry. This paper develops a diachronic analysis of research over 100 years that led to the recognition of two related electrophysiological phenomena, the membrane potential and the action potential. A diachronic perspective allows for reconciliation of two threads in philosophical discussions of phenomena—Hacking’s treatment of phenomena as manifest in laboratory settings and Bogen and Woodward’s construal of phenomena as regularities in the world. The diachronic analysis also reveals the (...) epistemic tasks that contribute to establishing phenomena, including the development of appropriate investigative techniques and concepts for characterizing them. (shrink)

I focus on David Gauthier’s intriguing suggestion that actions are not to be evaluated directly but via an evaluation of deliberative procedures. I argue that this suggestion is misleading, since even the most direct evaluation of (intentional) actions involves the evaluation of different ways of deliberating about what to do. Relatedly, a complete picture of what an agent is or might be (intentionally) doing cannot be disentangled from a complete picture of how s/he is or might be deliberating. A more (...) viable contrast concerns whether actions and deliberative procedures are properly evaluated on the whole or, instead, through time. (shrink)

Race and religion are integral parts of bioethics. Harm and oppression, with the aim of social and political control, have been wrought in the name of religion against Blacks and people of color as embodied in the Ten Commandments, the Inquisition, and in the history of the Holy Crusades. Missionaries came armed with Judeo/Christian beliefs went to nations of people of color who had their own belief systems and forced change and caused untold harms because the indigenous belief systems were (...) incompatible with their own. The indigenous people were denounced as ungodly, pagan, uncivilized, and savage. Hence, laws were enacted because of their perceived need to structure a sense of morality and to create and build a culture for these indigenous people of color. To date bioethics continues to be informed by a Western worldview that is Judeo/Christian in belief and orientation. However, missing from bioethical discourse in America is the historical influence of the Black Church as a cultural repository, which continues to influence the culture of Africans and Blacks. Cultural aspects of peoples of color are still largely ignored today. In attempting to deal with issues of race while steering clear of the religious and cultural impact of the Black Church, bioethics finds itself in the middle of a distressing situation: it simply cannot figure out what to do with race. (shrink)

In 1797 Friedrich Schlegel wrote philosophy of art usually lacks one of two things: either the philosophy, or the art. This collection of essays contains both the philosophy and the art. It brings together an international team of leading philosophers to address diverse philosophical issues raised by recent works of art. Each essay engages with a specific artwork and explores the connection between the image and the philosophical content and how philosophy can aid interpretation of the artwork. The discussion ranges (...) over political, ethical and religious concepts, such as apathy and irony, to standard problems in the philosophy of art, such as expression, style and depiction, as well as major movements in art history, such as Dadaism. Many of the contributors are distinguished in areas of philosophy other than aesthetics and are writing about art for the first time. All show how productive the engagement can be between philosophy, more generally, and art. (shrink)

This investigation looks into important questions in a postpandemic world. Humans are resilient beings who have overcome great catastrophes in the past. In this Covid-19 pandemic, I happen to visit a depressed community in Sitio Malipayon in which people seem to go on with their lives even with the existential threat from the pandemic. At the outset, the prejudices against the poor point to a lack of discipline. Yet, it is critical to understand that a return into the ordinariness of (...) human life may possess the answers that can save modern society in a post-pandemic world. The Plague, written by Albert Camus, is considered as “a kind of laboratory for studying attitudes towards itself.” This observation is demonstrated in the attitude of the priest, who sees the disease as a “punishment of God againstthe wickedness of modern life”; of Rambert, who has been separated “from the woman he loves”; and of Tarrou, “for whom it becomes the occasion of realizing his passion to correct an injustice at the center of society.” Perhaps, the present pandemic may not end modern society as it is, but it makes obvious what modern society actually lacks. The coronavirus pandemic, which has infected 13,238,448 and taken the life of 575,547 as of July 14, 202029, stirs fear among the people, especially in developing countries such as the Philippines. But what people dread does not come from the virus itself. It is the fear of the lack of clarity in terms of what the government wants to do given the circumstances millions are in. Some reports reveal a mismanagement of data. People are facing a bleak and an uncertain future as there are no guarantees in terms of the return to the normal states of affairs. The experience of stress and boredom, the loss of a job or source of income, have a negative impact in the lives of the people. (shrink)

Imagine this scene from the future. You are staring at a screen flickering with snow. Scientists have hidden one of two patterns in the dots, and eventually you spot one. But you don't have to tell the scientists what you are seeing; they already know. They are looking at the electrical signals from one of the billions of cells in your brain. When the cell fires, you see one pattern; when it stops, you see another‹your awareness can be read from (...) a single neuron. Now, in an even more unsettling trick, they send an electrical current to the neurons in that part of your brain and, with a push of a button, make you see one pattern or the other. (shrink)

A short guide to living well by understanding better what you really value—and what to do when your goals conflict What do you want out of life? To make a lot of money—or work for justice? To run marathons—or sing in a choir? To have children—or travel the world? The things we care about in life—family, friendship, leisure activities, work, our moral ideals—often conflict, preventing us from doing what matters most to us. Even worse, we don’t always know what we (...) really want, or how to define success. Blending personal stories, philosophy, and psychology, this insightful and entertaining book offers invaluable advice about living well by understanding your values and resolving the conflicts that frustrate their fulfillment. Valerie Tiberius introduces you to a way of thinking about your goals that enables you to reflect on them effectively throughout your life. She illustrates her approach with vivid examples, many of which are drawn from her own life, ranging from the silly to the serious, from shopping to navigating prejudice. Throughout, the book emphasizes the importance of interconnectedness, reminding us of the profound influence other people have on our lives, our goals, and how we should pursue them. At the same time, the book offers strategies for coping with obstacles to realizing your goals, including gender bias and other kinds of discrimination. Whether you are changing jobs, rethinking your priorities, or reconsidering your whole life path, What Do You Want Out of Life? is an essential guide to helping you understand what really matters to you and how you can thoughtfully pursue it. (shrink)

Three years ago, as my fortieth birthday disappeared into the far distance in my rearview mirror, driven by a combination of vanity and fear of my own mortality and decrepitude, I committed to getting in shape.I’ve always been fairly active: I have always walked a lot, commuted by bike when that was plausible, avoided driving whenever possible, and just generally been high energy. But a childhood full of failure at team sports and a lack of innate gifts in the coordination (...) department scared me off for decades from formal physical activity. Indeed, I was convinced that I hated working out—that I would always hate it, no matter what, and that it would always take a tremendous and ongoing act of sheer will power to do... (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often resulted (...) in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

Many systems of logic diagrams have been offered both historically and more recently. Each of them has clear limitations. An original alternative system is offered here. It is simpler, more natural, and more expressively and inferentially powerful. It can be used to analyze not only syllogisms but arguments involving relational terms and unanalyzed statement terms.

The appeal of the moral principle according to which we should treat like cases alike is so great that it verges on the axiomatic, or on the platitudinous. Recently, however, the principle has been challenged in deeply interesting ways. These ways are interesting because they do not invite skepticism about morality at large, but about the specific claim that what is good (or bad) for an agent in a given situation must be good (or bad) for any other similarly situated (...) agent. I here assess the post-challenge viability of the principle. In a sense, the principle survives, but this is neither an unqualified victory nor an inspiring result. The examination of these matters contains an important (and under-investigated) lesson about the nature of moral experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Figuring Myself Out:Certainty, Injury, and the Poststructuralist Repositioning of Bodies of IdentityJames Haywood Rolling Jr. (bio)CertaintyI have been attempting to figure myself out. Out of chaos and incompletion, toward increased certainty. I have been at this task of construction for quite some time now. I have just proposed my dissertation and my intentions are once again uncertain. My dissertation is to be a self-study. It is also a (...) story about uncertainty and my attempts to redeem a clear definition, to be named a peer and a colleague among artists, writers, and teachers. I have been uncertain as a little boy; uncertain as a son; uncertain as a student of architecture; uncertain as an artist and writer; uncertain as a teacher; uncertain as a black man. To compensate, I have sought the conferral of certainty, a name among leaders in many fields of inquiry. Still, it is not easy to forget that certainty has also been the cause of great injury to my body, to my mind.On sunny afternoons after school all the kids came outside to play. The air would fill with echoes going back and forth between the red brick and stone buildings on both sides of our narrow street. Pounding rubber balls, the taps and scratches of shoe heels, and the slapping of sneakers on the cement and asphalt.Sometimes white chalk would appear and hopscotch boxes were quickly drawn on the neat squares of cement pavement in front of my Grandma's house. Grandma lived next door to us. Houses on our block were side by side, sharing each other's walls.On a particular day, similar to other days, I watched as a small flat stone was tossed to bounce across the cement into a numbered box. I watched the one foot, two feet, one foot hops from box to box to stop and balance on one small hopping foot, steadying itself, to drop a hand to pick up the stone. Some little girl came to sit beside me and asked me to look at her. We were sitting on one of Grandma's two wooden benches, just inside the front gate. [End Page 46] Two steps down was the sidewalk and other kids. I ignored the girl. I made sure my body had no contact with hers on the bench. Why was she talking to me anyway? Didn't she see I didn't have anything I wanted to say?"Look at me!" she said, tugging at my arm."Will you stop it!" I snapped back, jerking my arm away. Being touched was not natural to me. My family didn't touch. I tightened the skin of my eyebrows and the bridge of my nose into a frown."Smile!" the little girl said slyly, trying to tickle me."Leave me alone!" I yelled. I tried to move away from the touching.I must have grinned. Grinning relaxes the frowns on faces. The girl clapped a hand over her mouth, all giggles. I asked what she was laughing so loud for. The kids out in front of us now had our attention. I felt like I was now being watched. I can't remember the faces, just the noise and voices that seemed to stop. The little girl stood up, pointed at my face and declared, finger in my face, pointing, speaking out loud, "Look! He only has one dimple! See?! Look at his face!""No I don't," I said, dropping my face, my eyes, my voice. My head was down and I didn't want to see if anyone was looking. The attention made my face warm and I needed to move away fast. "No I don't," I repeated, stiffly. My whole head seemed to glow brightly, very hot, drawing lots of attention. I was beneath windows, very near, on both sides of the street, always with onlookers. I rushed through the painted iron gate, going quickly next door, upstairs to "our house," to the second floor apartment we lived in, down the hallway so dark after the bright outside, around a curve and a corner, into the bathroom, closing the door behind me. Locking the door... (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often resulted (...) in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

Linear diagrams (sometimes called ‘Line diagrams’) have an old history. Their past supporters include distinguished logicians such as Leibniz, Lambert and (J. N.) Keynes. Although circular diagrams...

I argue that figurative speech, and irony in particular, presents a deep challenge to the orthodox view about sentence content. The standard view is that sentence contents are, at their core, propositional contents: truth-conditional contents. Moreover, the only component of a sentence’s content that embeds in compound sentences, like belief reports or conditionals, is the propositional content. I argue that a careful analysis of irony shows this view cannot be maintained. Irony is a purely pragmatic form of content that embeds (...) in compound sentences. The standard view cannot account for this fact. I sketch out a speech-act theoretic framework that can. But in accepting this alternative framework we are giving up on the whole idea of an autonomous semantics. (shrink)

A guide that explains how pearls of wisdom from the greatest Western philosophers can help readers face and make light of some of the daily challenges of modern life."--Provided by publisher.

We think and speak in figures. This is key to our creativity. We re-imagine one thing as another, pretend ourself to be another, do one thing in order to achieve another, or say one thing to mean another. This comes easily because of our abilities both to work out meaning in context and re-purpose words. Figures of speech are tools for this re-purposing. Whether we use metaphor, simile, irony, hyperbole, and litotes individually, or as compound figures, the uses are all (...) rooted in literal meanings. These uses invite us to explore the context to find new meanings, new purposes, beyond the literal. -/- This special issue of Philosophical Studies brings together eight papers on various aspects and applications of figurative speech including: David Hills, Mitch Green, Liz Camp, Ofra Magidor, Larry Horn, Ken Walton, Stephen Barker, and Mihaela Popa-Wyatt. (shrink)

Figure-Ground Duality in Humour: A Multi-Modal Perspective Creativity with words or pictures is not simply a matter of communicating a message, but of communicating it well, in a way that is effective, original and which defies convention. Effectiveness here pertains to the pragmatic goals of the communicator, and the extent to which these are achieved, while originality pertains to the manner in which the message is framed. Language, for instance, provides a wealth of conventions for framing a message; indeed, the (...) vast part of language is a solidified body of culturally received conventions, which fix the meaning of words and phrases and determine the contextual appropriateness of specific terms, topics and conversational strategies. To frame a message in a novel manner that stretches or even subverts these conventions, a communicator must imbue the elements of communication—whether words, gestures or pictorial elements—with additional meanings. This duality of meaning is not arbitrary, however, or communication cannot succeed. Rather, a creative communicator must draw out secondary meanings that are already implicit in the stock elements of communication, in a way that the audience can understand, appreciate and replicate. Duality thus lies at the heart of creative communication, allowing a communicator to say one thing and simultaneously convey another, secondary message that may augment or subvert the overt content of the communication. This mechanism, which draws out and gives prominence to that which is normally unseen or implicit, is Figure-Ground Reversal. (shrink)

According to Aristotle’s homonymy principle, when we use a common name to refer to wholes and parts that lack the capacity to carry out the function signified by the name, we are using the name in a homonymous way. For example, pictures and statues of a man, or a dead eye, are called “man” and “eye” only homonymously because they cannot carry out their proper function, i.e., to live and to see. This principle serves well Aristotle’s purposes in natural philosophy, (...) for it avoids a reduction of the essence of living bodies and their parts to their material composition and shape. This principle, however, leaves unexplained why we still use those names in common language, despite their homonymy. Using Aristotle’s own comments on homonymy, I will examine the role played by external figure, for it explains why such homonyms are not accidental. In fact, they are correct forms of linguistic usage in non-philosophical contexts. (shrink)

It’s natural for hyperbole to mix with metaphor and irony, and other figures of speech. How do they mix together and what kind of compound, if any, arises out of the mixing? In tackling this question, I shall argue that thinking of hyperbolic figures along the lines familiar from ironic metaphor compounds is a temptation we should resist. Looking in particular at hyperbolic metaphor and hyperbolic irony, I argue, they don’t yield a new encompassing compound figure with one figure building (...) on another. Instead, what we have is one dominant figure colored with hyperbolic tinges. So what does hyperbole bring to the mixing pot? I suggest we should think of hyperbole in hyperbolic figures as being an interpretive effect, modulating the working of the partner figure and thus rendering more emphatic. (shrink)

KANT’S GOAL IN THE TRANSCENDENTAL DEDUCTION was to demonstrate that the categories are applicable to objects of sensible intuition. He carried out this task by disclosing the necessity of a transcendental synthesis. In the Transcendental Deduction in the second edition of the Critique of Pure Reason transcendental synthesis has two subspecies: synthesis intellectualis and synthesis speciosa. The distinction between the two types of transcendental synthesis is also mirrored in the structure of the proof of the B Deduction. As several commentators (...) have noted, the B Deduction in fact contains two parts. Each part seems to provide an account of a distinctive kind of transcendental synthesis. The first part provides an account of intellectual synthesis while the second part provides an account of figurative synthesis. (shrink)

While cognitive linguists have been successful at providing accounts of the stable knowledge structures (conceptual metaphors) that give rise to figurative language, and the conceptual mechanisms that manipulate these knowledge structures (conceptual blending), relatively less effort has been thus far devoted to the nature of the linguistic mechanisms involved in figurative language understanding. This paper presents a theoretical account of figurative language understanding, examining metaphor and metonymy in particular. This account is situated within the Theory of Lexical Concepts and Cognitive (...) Models (LCCM Theory). LCCM Theory (Evans, Cognitive Linguistics 17: 491–534, 2006, How words mean: Lexical concepts, cognitive models and meaning construction, Oxford University Press, 2009b) is a cognitively realistic model of lexical representation and semantic compositionality, providing, it is argued, an account of figurative language which complements the ‘backstage’ cognition perspective of Conceptual Blending Theory. It also integrates the notion of conceptual metaphor within the account provided of figurative language understanding. The paper introduces the key mechanisms involved in figurative language understanding arising from language use. The paper also provides a programmatic account of how conceptual metaphors are integrated with linguistic knowledge in figurative language use. It is argued the present proposals flesh out a key aspect of the conceptual integration perspective promoted by Fauconnier and Turner, with which LCCM Theory is continuous. In part, the paper attempts to advance the prospect of a ‘joined up’ cognitive linguistic account of figurative language understanding. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Figures of Antichrist:The Apocalypse and Its Restraints in Contemporary Political ThoughtGiuseppe Fornari (bio)1. The Antichrist and the Katéchon in Early ChristianityThe history of the Antichrist follows the history of Christ like a shadow.1 This statement is far from banal, not only because of its consequences but also because Christianity as currently presented typically denies that a figure like the Antichrist could be a cause for concern. When confronted with (...) the Antichrist, with Satan in person, the current reaction of many Christians is one of "dialogue." That this may be interpreted, in terms of the doctrine of the Antichrist, as a sign of his proximity passes unnoticed among Christians of goodwill in this day and age. But the devil is never so near as when he is denied or when, following the dictates of what is "politically correct," we start negotiating with him under names that change to suit the occasion. It is a different matter with regard to the historical phenomena that are only indirectly related to Satan, phenomena that help to hold him as far off as possible, but this eventuality can be appreciated only by those who know the devil, not by those who deny him.Some initial comments of a semantic nature are indispensable and, in virtue of the very pregnancy of the term "antichrist," they lead straight to [End Page 53] theological considerations. Antichrist is a synonym of Satan, with the difference that the functional noun "anti-christ" contains a direct indication of the relationship of Satan to Christ; it is the inevitable consequence of the conflict between Satan and Christ. That consequence can only be negation or opposition. The devil, as soon as he encounters Christ, automatically becomes "anti-," which does not imply a personal antipathy—the devil is not a person so much as the principle that parasitically destroys the person—but expresses the consequence of the demystification brought about by Christ: his mask once removed, the devil reveals his true face as Adversary, as "anti-," and the first figure against whom he directs this being "anti-" is necessarily the one who has unmasked him, that is, the Christ. The Greek prefix "anti-" in itself indicated the desire to take someone's place and, consequently, to go against that person; and it is this latter meaning that prevails in the modern prefix. Satan's intention becomes clear when we perceive the perfect convergence between the two nuances of meaning: taking Christ's place in order to go against him and going against Christ in order to take his place. Initially Satan tries out on Christ his old ploy of temptation, and this marks the start of the Son of God's public mission. The conflict is first and foremost a conflict between two functions, between two opposing logics. If Christ were to yield, he would at once fail in his mission from the Father, becoming the antichrist of himself, canceling out his own function and making the very notion of antichrist pointless. Christ does not yield, but this does not mean that his victory has been secured once and for all. He has confirmed his mission, but once this has got under way, all are called to enter into his figure, into his saving function, to become "Christ," which implies that the devil will repeat his temptation with everyone called by Christ. And as Christ is present this time, yielding to temptation marks out the person who yields as antichrist; and, since it is hard to resist temptation, there will be a growing number, not to say a multitude, of antichrists. From the start the word is revealingly characterized, structurally, by its plural form. While we do not have numerous "christs," because to follow Christ means to be as he is and to enter in to be part of him, by which act all the faithful become part of the body of Christ, which is the Church, anyone who becomes the "anti-" of Christ introduces the germ of plurality and discord, because from that moment on he is the "anti-" of the others. The antichrist introduces the poison of the "anti-" into the world, not that it was... (shrink)

The paper addresses some rhetorical uses of the figure of water management from the perspective of an affirmative approach to contamination which Derrida saw as constitutive of affirmation itself. Contaminated water and its discontents discussed in the text frequently appears in various kinds of writings as a frightening figure of contamination which simultaneously brings in the figure of water management as a way of controlling the purity of cultural exchanges and transmissions in which, as Caroline Petronius puts it, contagion journeys (...) out of medicine into culture. The paper also addresses water and its management from the perspective of Astrida Neimanis’s liquidizing of the border between the solid and the fluid as a border between the human and the inhuman. This perspective opens up the sphere of mutual contamination of the human and the inhuman and translates posthumanist theoretical positions into spheres of affirmative exchanges managed not by masters, but by Donna Haraway’s companion species whom, or which, we all are. (shrink)

Whether out of an understandable reluctance to neglect any of the scarce available sources or simply for want of more trustworthy evidence, classical scholars nolentes volentes tend to rely to a large extent on references to amounts of money in the ancient literary sources whenever they aim at quantifying, however roughly and shielded by appropriate disclaimers, some fundamental features of Roman economy and society. In view of this, the almost complete lack of systematic enquiries into the very nature of these (...) particular data is almost as inexplicable as it seems inexcusable. While several studies have been devoted to the use of rounded numbers in Greek and Roman literature in general, none of these has specifically addressed the stylization of monetary valuations. The only notable exception is provided by the work of Richard Duncan-Jones who in a pioneering survey of prices in the Latin novel above all showed beyond reasonable doubt that in this genre, prices expressed in multiples of thirty should best be understood as purely conventional valuations. In his latest book, he has subjected the ancient numerical evidence for two areas of major concern—the public treasury and state expenditure during the Principate—to an analogous examination that has highlighted the stylized character of many relevant references and has thus largely confirmed his previous findings. Even so, owing to the limitation of these studies to a small number of authors and subject matters, a vast pool of similar data from ancient literature has hitherto been left virtually untapped. What is more, Duncan-Jones did not attempt to complement his re-evaluation of multiples of thirty with a systematic exposition of complementary patterns of stylization. In this paper, I hope to demonstrate the need for a more extensive and much more radical reassessment of much of the available evidence. (shrink)

Yablo argued that some metaphors are representationally essential: they enable us to express contents that we would not be able to express without them. He defended a fictionalist view of mathematical language by making the case that it similarly serves as a representational aid. Against this, Colyvan argued that metaphorical/figurative language can never play an essential role in explanation and that mathematical language often does, hence concluding that Yablo’s fictionalism is untenable. I show that Colyvan’s thesis about explanation is highly (...) implausible in the absence of a challenge to Yablo’s position on representationally essential metaphors, which Colyvan does not attempt. I also briefly discuss other attempts to produce a simple knock-out argument against fictionalism and show them wanting. (shrink)

The purpose of this work is to address what notion of geometrical object and geometrical figure we have in different kinds of geometry: practical, pure, and applied. Also, we address the relation between geometrical objects and figures when this is possible, which is the case of pure and applied geometry. In practical geometry it turns out that there is no conception of geometrical object.

The money-pump argument figures as the staple argument in support of the view that cyclic preferences are irrational. According to a prominent way of understanding the argument, it is grounded in the assumption that it is irrational to make choices that lead one to a dispreferred alternative. My aim in this paper is to motivate diffidence with respect to understanding the money-pump argument in this way by suggesting that if it is so understood, the argument emerges as question-begging and as (...) a complicated distraction in the debate concerning cyclic preferences, and that there is a way of understanding the argument that casts it as grounded in a less controversial starting point. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In, Out Me, You Mental, Moral Where Do I Begin?Mark D. Rego (bio)I once attended a Buddhist meditation retreat, led by an American meditation teacher. The instructor had studied and practiced is Asia for many years and was well versed in the practices and teachings of Buddhism. Among his opening remarks was something along the line of the following: "One question that is asked on every retreat is, 'if (...) there is no true self, then who is it who has come here to become free of the illusion of a self?' The answer is, I don't know, but we can start anyway."This sense of practicality in the face of unanswerable questions is built into Buddhism, as is the relationship among the particularities of each individual, a process akin to externality, mental well-being, and morality.I raise Buddhism both because of its central interest into the nature of the self (an obviously germane consideration in the papers under discussion) and because of this second feature noted, namely the comfortable integration of individuality, character building, ethical action, and mental well-being (the issue of the true self will, thankfully, have to wait). It is this theme that I raise via the discussion of externality.The commentaries of Talmadge and Graham, unintentionally I think, pull me toward a beguiling observation in my daily practice of psychiatry. Namely, patients commonly report their clinical improvements in terms of how they deal better with others, how they are more thoughtful and even handed (with themselves included), and how they better cope with the demands of their individual lives. In senses both highly individual and highly principled, and in ways both explicit and implicit, when patients feel better they often feel that they are better people (all the kinds of treatment mentioned in my paper equally apply; there is no exclusivity in this result).There is also an interesting consistency in a dual manner in which this is expressed. In one way people report the improved coping, handling, and so on mentioned. In the next breath the same person commonly says, "I feel like myself."The meditation instructor would be pleased; it appears that through a process of becoming aware of and letting go of some form of negativity an individual feels better, acts better, and feels more unified. (As the instructor was psychologically sophisticated, he would not mistake the "like myself" sentiment as a Buddhist heresy. Rather, he would understand it as a reflection of being more at ease with and aware of disparate parts of himself.) And all this without figuring out who the real self is. [End Page 331]I mention these observations about Buddhism and clinical care because when I consider the processes of evaluating, deciding, and forging identity and volition it seems to me that somewhere between the lines the individual is aligning himself with some sense of what is good. The resultant experience of volition and cohesive identity is, often but not always, experienced as good both psychologically and morally.Change, Others, and ValuesIn the two commentaries that follow my paper on Frankfurtian externality and therapeutic change (Rego 2004), Talmadge (2004) and Graham (2004) highlight different aspects of externality and therapeutics. Talmadge, an addiction psychiatrist, expands the theme of volitional change in recovery from addiction. For Talmadge, as for most in the field, the question of when and how an addict has truly committed to change (hitting "rock bottom"? accepting the first of the twelve steps?) is perennially in the air. Such knowledge would be invaluable in guiding addicts along their rocky paths.Although still far short of the mark, Talmadge finds some illustrative guidance in Frankfurt. The shift that takes place within the addict to place him on the road to recovery is not necessarily "rock bottom," or conformity to a program's dictates or a state of new knowledge. Rather, it is a shift in will. By whatever process (and Talmadge is quite aware that there seem to be many paths) the addict has come to care about sobriety in a way he or she did not before. He or she now cares in a way that is part of him or her... (shrink)

Resumen: En el presente artículo buscaremos analizar los diversos tratamientos que Walter Benjamin ha realizado a lo largo de su obra acerca de la crítica como temática eminentemente filosófica. Para ello abordaremos, en primer lugar, su acercamiento a la poesía del Romanticismo alemán, luego a la poesía barroca y, finalmente, a la obra de Baudelaire con el objetivo de justificar que una comprensión acabada de la crítica implica necesariamente para el filósofo alemán recuperar la actualización como clave de lectura de (...) la historia. En efecto, si actualizar presupone para Benjamin la asunción de la no coincidencia del tiempo consigo mismo, esto es, la supervivencia del pasado en el presente y el potencial significante de sus emergencias, buscaremos mostrar cómo la noción de crítica benjaminiana descansa en ese diferencial temporal y encuentra allí su fuente de sentido.: In this article we intend to analyze the different considerations that Walter Benjamin carried out in his work on the problem of critique as an eminently philosophical subject. To do this, we will address, first, his approach to German romantic poetry, then baroque poetry and, finally, Baudelaire’s work, in order to explain how a full comprehension of critique means, for the German philosopher, to recover the idea of “actualization” as a key for reading History. In fact, if the actualization presupposes, for Benjamin, the assumption of the non-coincidence of time with itself, that is, the survival of the past within the present and its potentiality to signify, we try to show how Benjamin’s notion of criticism rests on that temporal difference and finds there its source of meaning. (shrink)

Whether out of an understandable reluctance to neglect any of the scarce available sources or simply for want of more trustworthy evidence, classical scholars nolentes volentes tend to rely to a large extent on references to amounts of money in the ancient literary sources whenever they aim at quantifying, however roughly and shielded by appropriate disclaimers, some fundamental features of Roman economy and society. In view of this, the almost complete lack of systematic enquiries into the very nature of these (...) particular data is almost as inexplicable as it seems inexcusable. While several studies have been devoted to the use of rounded numbers in Greek and Roman literature in general, none of these has specifically addressed the stylization of monetary valuations. The only notable exception is provided by the work of Richard Duncan-Jones who in a pioneering survey of prices in the Latin novel above all showed beyond reasonable doubt that in this genre, prices expressed in multiples of thirty should best be understood as purely conventional valuations. In his latest book, he has subjected the ancient numerical evidence for two areas of major concern—the public treasury and state expenditure during the Principate—to an analogous examination that has highlighted the stylized character of many relevant references and has thus largely confirmed his previous findings. Even so, owing to the limitation of these studies to a small number of authors and subject matters, a vast pool of similar data from ancient literature has hitherto been left virtually untapped. What is more, Duncan-Jones did not attempt to complement his re-evaluation of multiples of thirty with a systematic exposition of complementary patterns of stylization. In this paper, I hope to demonstrate the need for a more extensive and much more radical reassessment of much of the available evidence. (shrink)