Midwest Studies in Philosophy, Volume XXIV, Life and Death: Metaphysics and Ethics is an important contribution to the literature on the intersection of issues of metaphysics and issues of ethics. In the Midwest Studies tradition, twenty of the more important philosophers writing in this area have contributed original papers that extend the boundaries of philosophical discussion of issues that are of both theoretical and practical concern to a wide-ranging audience. Topics considered include the concept of human life, the relationship (...) between the concept of personal identity and the understanding of death, normative appraisals of death, capital punishment, euthanasia, the postponement of death and the impact of a theory of death and afterlife on one's ethical perspective. (shrink)

This Volume illuminates the notion of meaning in the arts-in literature, painting, music, and dance. Specific topics include theory in the arts; interpretations of meaning; objectivity in meaning; and the consumer as a participant in art. Brings together articles from prominent philosophers and practitioners of the arts, which illuminate the notion of meaning in the arts. Addresses meaning in literature, painting, music, and dance. Explores the relationship between authorial intentions and the viewer's interpretation of meaning; the possibility of (...) objective meaning; and the role of the consumer as a participant in the work of art. (shrink)

There is a large body of literature by the Chilean biologists Humberto Maturana and Francisco Varela, usually referred to as Autopoietic Theory. This theory describes the dynamics of living systems; dealing with cognition as a biological phenomenon. The theory, however, has found far wider application than may be suggested from its biological roots. This is because the theory builds from its cognitive base to generate implications for epistemology, communication and social systems theory. Since, in essence, there is no discontinuity (...) between what is social and what is human, from the perspective of their biological roots. This paper presents some of the key elements of autopoietic theory and explores their application to organisations and their management. The topics considered are: i) the epistemological qualities of our knowledge and its relevance in understanding organisation; ii) human enterprises as autonomous selforganising systems; iii) the meaning of communication and the role of language in organisations. The paper also describes a new approach to organisational inquiry. This brings together, in a co-determinate fashion, a pragmatic attitude to human experience and language, and the value of theoretical insight. (shrink)

Taking to heart Massaro's [(1988) Some criticisms of connectionist models of human performance, Journal of Memory and Language, 27, 213-234] criticism that multi-layer perceptrons are not appropriate for modeling human cognition because they are too powerful (i.e. they can simulate just about anything, which gives them little explanatory power), Regier develops the notion of constrained connectionism. The model that he discusses is a distributed network but with numerous constraints added that are (more or less) motivated by real psychophysical and neurophysical (...) constraints. His model learns static prepositions of spatial location such as in, above, to the left of, to the right of, under, etc., as well as dynamic prepositions such as through and the Russian iz-pod, meaning out from under. The network learns these prepositions by viewing a number of examples of them. Very importantly, this book tackles-and goes a long way towards resolving-the problem of the lack of negative exemplars (i.e. we are only very rarely told when something is not above something else), which should lead to overgeneralization, but does not. This book is a significant contribution to connectionist literature. (shrink)

Eric Prieto is a professor of French and Comparative Literature at the University of California, Santa Barbara. He is the author of Listening In: Music, Mind, and the Modernist Narrative, and numerous essays on music-and-literature, literary spatiality, Caribbean literature, and literary theory.

"What is at stake in this book is nothing less than a dramatically new way of approaching literature, one which in its unostentatious, low key way scandalously smashes a whole range of liberal humanist icons." --Terry Eagleton Who is more important: the reader, or the writer? Originally published in French in 1966, Pierre Macherey's first and most famous work, A Theory of Literary Production dared to challenge perceived wisdom, and quickly established him as a pivotal figure in literary (...) theory. In this provocative work, Macherey puts the focus as much on the reader as the writer, stating that the very act of reading is a form of production in its own right, generating interpretation and meanings which are beyond the control of the author. Part of the birth of a whole new branch of post-structuralist theory, Macherey's work also influenced a new generation of critics among them Jacques Derrida, his contemporary, and Terry Eagleton. His ideas have also led some observers to claim that he announced the death of the author fully two years before Roland Barthes' famous essay. The reissue of this work as a Routledge Classic brings some radical ideas to a new audience, and argues persuasively for a totally new way of reading. As such, it is an essential work for anyone interested in the development of literary theory. (shrink)

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The (...) notion of 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

Maurice Blanchot, the eminent literary and cultural critic, has had a vast influence on contemporary French writers—among them Jean Paul Sartre and Jacques Derrida. From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature , first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores the (...) process of reading as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarme;, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:429 THE HUME LITERATURE FOR 1985 The Hume literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship: A Bibliographical Guide (Edinburgh University Press, 1978; £9.50), which also lists the main earlier writings on Hume. (The book is still in print.) Publications of the years 1977 to 1984 were listed in previous issues of Hume Studies. What follows here will (...) bring the record up to the end of 1985. Readers are invited to inform me of any omissions, and keenly requested to send me offprints of their own articles and reviews. Hardly any do so at present, and it would greatly ease the labour of collection. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of this annual bibliography, with addenda consisting of items omitted through ignorance in previous years. References to recently appearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQ American Philosophical Quarterly HPQ History of Philosophy Quarterly JHI Journal of the History of Ideas JHP Journal of the History of Philosophy JP Journal of Philosophy PAS Proceedings of the Aristotelian Society PB Philosophical Books PQ Philosophical Quarterly PR Philosophical Review RIP Revue Internationale de Philosophie RM Review of Metaphysics TLS Times Literary Supplement 430 Other abbreviations should be obvious enough, and mainly follow the British Standard (no. 4148). AGASSI, J. "The Unity of Hume's Thought", Hume Studies (10th Anniv. Issue), 87-109. AUSTIN, W. H. "Philo's Reversal", Phil. Topics 13, no. 2, 103-12. BADIA CABRERA, M. A. "Hume's Natural History of Religion: Positive Science or Metaphysical Vision of Religion", Diálogos 20, 71-8. BAIER, A. Postures of the Mind, ch. 10 ("Promises, Promises, Promises"), ch. 11 ("Civilizing Practices"). London, etc. BEHAN, D. P. "Hume's Labyrinth", HPg 2, 309-22. BENNETT, D. "Hume's Pride", in B. Vermazen, Essays on Davidson, 89-91. Oxford. BIRO, J. L. "Hume and Cognitive Science", HPQ 2, 257-74. BLANDINO, G. "Le causalitate. Discussion sur le criticas de D. Hume" [in Interlingua, with French and English], Aquinas 28, 247-57. BRICKE, J. "Locke, Hume and the Nature of Volitions", Hume Studies (10th Anniv. Issue), 15-51. BROOKS, D. "Hume's Bundle Theory of the Mind", S. African J. Phil. 4, 75-84. BROOKS, D. H. M. "Strawson, Hume, and the Unity of Consciousness", Mind 94, 583-6. CAMPBELL, K. "John Passmore and Hume's Moral Philosophy", Hume Studies 11, 109-24. CAPALDI, N. "The Historical and Philosophical Significance of Hume's Theory of the Self", in A.J. Holland, Philosophy, Its History and Historiography, 271-85, Dordrecht, etc. 431 CARLSON, G. R. "Hume and the Moral Realists", Australas. J. Phil. 63, 407-18. CHAKRABARTI, T. K. "Hume's Definitions of Cause", J. Indian Council Phil. Res., 67-75. CHEN, W. -S. Article (in Chinese) on Hume on personal identity, in Phil. Rev. (Taiwan) 8, 123-42. CLARK, S. R. L. "Hume, Animals and the Objectivity of Morals", P£ 35, 117-33. CLERO, J. P. La philosophie des passions chez David Hume. (301 pp.) Paris. DANIEL, S. C "The Problem of Identity of Objects in Hume's Philosophy", Indian Phil. Q. 12, 1916. DAVIE, W. "Hume on Morality, Action, and Character", HPQ 2, 337-48. DEWITT, R. "Hume's Probability Argument of I, iv, 1", Hume Studies 11, 125-40. DONNICI, R. "Husserl sull' etica di Hume. Dalle lezioni inedite del 1902", Rivista di storia della filosofia 40, 449-70. ENC, B. "Hume on Causal Necessity: A Study from the Perspective of Hume's Theory of Passions", HPQ 2, 235-56. FERREIRA, M.J. "Hume's Naturalism - 'Proof and Practice", P£ 35, 45-57. FLAGE, D.E. "Hume on Memory and Causation", Hume Studies (10th Anniv. Issue), 168-88. [11 (1985) 166-72] FLAGE, D.E. "Perchance to Dream: A Reply to Traiger", Hume Studies 11, 173-82. (on Traiger 1985b) FLAGE, D.E. "Hume's Ethics", Phil. Topics 13, no. 3, 71-88. FLEW, A. "Impressions and Experiences: Public or Private?", Hume Studies 11, 183-91. 432 FOGELIN, R.J. Hume's Skepticism... (shrink)

It is important for the materialist historian, in the most rigorous way possible, to differentiate the construction of a historical state of affairs from what one customarily calls its "reconstruction." The "reconstruction" in empathy is one- dimensional. "Construction" presupposes "destruction." Almost fourteen years after the death of Jacques Derrida, the least one can say is that his inheritance is as contested and fraught with rivalries, rejections, and appropriations as at the time of the flowering of Deconstruction in American universities in (...) the seventies and eighties. A halt was observed in 1988-89 after the posthumous revelations about Paul de Man's past in Belgium and Derrida's embattled defense of his friend. Today, in France, one often hears that "Derrida a fait l'Ecole mais n'a pas fait ecole," meaning that Derrida passed the entrance examination of the prestigious Ecole Normale Superieure where he taught for a long time, where he met Paul Celan, Louis Althusser, Michel Foucault and many other luminaries, whereas he never had a real "school" in France-no real institutional backing beyond the various Parisian places at which he taught later, or those that he founded like the College de Philosophie; his following constituted of young philosophers, only a few of whom became university professors in their turn and disseminated his teachings. However, the mechanisms of power within the French university remained closed to Derrida until the end; besides, he wanted to prevent the stereotyped reproduction currently observed from master to disciple. (shrink)

This collection revisits A Theory of Literary Production by influential French critic Pierre Macherey to explore how the theorist's remarkable-and provocative-work can contribute to contemporary discussions about reading and formal analysis.

Literature and Theory is designed to introduce and help scholars and students to apply key critical theories to literary texts. Focusing on representative works and authors widely taught across classrooms in the world - Joyce, Dickinson, Shakespeare, Beckett, Eliot, Octavia Butler - it distils the different aspects of understanding and studying literature in an accessible format. The volume also brings together essays that represent major modern literary schools of thought, in-cluding structuralism, poststructuralism, myth criticism, queer theory, feminism, postcolonialism, (...) and deconstruction. This book will be of great interest to scholars and researchers of literary and critical theory, and culture studies. (shrink)

Thirty years after the conference that gave rise to The Structure of Scientific Theories, there is renewed interest in the nature of theories and models. However, certain crucial issues from thirty years ago are reprised in current discussions; specifically: whether the diversity of models in the science can be captured by some unitary account; and whether the temporal dimension of scientific practice can be represented by such an account. After reviewing recent developments we suggest that these issues can be accommodated (...) within the partial structures formulation of the semantic or model-theoretic approach. (shrink)

Steven French and Decio Krause examine the metaphysical foundations of quantum physics. They draw together historical, logical, and philosophical perspectives on the fundamental nature of quantum particles and offer new insights on a range of important issues. Focusing on the concepts of identity and individuality, the authors explore two alternative metaphysical views; according to one, quantum particles are no different from books, tables, and people in this respect; according to the other, they most certainly are. Each view comes with (...) certain costs attached and after describing their origins in the history of quantum theory, the authors carefully consider whether these costs are worth bearing. Recent contributions to these discussions are analyzed in detail and the authors present their own original perspective on the issues. The final chapter suggests how this perspective can be taken forward in the context of quantum field theory. (shrink)

What is a scientific theory? This book considers this fundamental question by presenting a range of options and the issues they raise. It draws comparisons between theories and artworks and proposes that we should stop thinking of theories as things altogether.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ornament, Fantasy, and Desire in Nineteenth-Century French LiteratureGeoffrey Galt HarphamOrnament, Fantasy, and Desire in Nineteenth-Century French Literature, by Rae Beth Gordon; xvii & 288pp. Princeton: Princeton University Press, 1992, $42.50.As Rae Beth Gordon notes in the introduction to her stimulating and original book, ornament, which is devoted to grace, charm, and attractiveness, becomes the object of suspicion and moralizing disdain when it exceeds what numerous (...) commentators refer to as “its proper limits.” The limits are set low by those who wish to maintain the integrity of the center—the melodic line, the text, the main image, the literal sense, the consensual meaning—against the disruptive and excessive forces of the margin. Transgress the margin to which ornament is properly confined, as artists in virtually every medium available in nineteenth-century France did, and a series of crucial binary distinctions collapses, threatening not only the center, but ornament itself, which is defined by its limits, its position on a well-defined edge.What distinguished nineteenth-century French literature was, from Gordon’s point of view, a sustained interest, among critics as well as artists, in cultivating the creative possibilities opened up by compromising the boundary between ornament and its other. So fertile and successful has this project proven to be that today’s postmodernity has not come to an end of it, continuing to discover its most interesting possibilities on the margin. And within the field of art history, we see that ornament, once widely denigrated as the source of confusion, has become virtually orthodox; as the title of Ernst Gombrich’s book on the subject indicates, ornament is now held to appeal to and gratify The Sense of Order.Gordon takes advantage of the posthistory of her subject, applying to studies of Nerval, Mallarmé, Gautier, Huysmans a theoretical armature drawn from the psychoanalytic theories of Freud, Winnicott, and Lacan. Drawing attention to a dimension of meaning or intention that has been “suppressed or excluded from the central field,” ornament, she argues, “anticipates the way psychiatry, perceptual psychology, and aesthetics converge in the fin de siècle.” Ornament, in other words, is cognate with the unconscious, and its prevalence in fin de siècle art and literature may be considered a sign of a certain cultural receptivity to the discoveries Freud was about to make, the “French” modality of a phenomenon to which Freud would give a “Viennese” formulation. [End Page 364]It is fashionable, especially in medieval studies, to focus on the disruptively counter-doctrinal potential of marginal elements such as gargoyles or textual illuminations. But Gordon generally argues another kind of case altogether, one that has, perhaps, even greater contemporary interest. Ornament, she claims, discloses the essential principles of aesthetic production. The expressive power of line, the “sense of order” to which it appeals, the subordination of literal depiction to design, the primacy of relationships over individual figures—all these reflect, as Wilhelm Worringer was explicitly to claim in 1908, energies deriving from the very beginnings of art itself.Thus, when principles and figures of ornament began to invade the “sense” or “business” of the text itself, as they did in nineteenth-century French literature, what is happening is not only a radical adjustment of a certain conception of ornament, but a large movement of return. Art becomes under these circumstances both decadent and primordial, devoting itself to both meaningless proliferation and to “pure art.” Gordon tracks this ambivalent movement with very considerable assurance and learning in an argument as sinuous as the ornamental line itself. The chapters on Nerval (“Lace as Textual Metaphor”) and Gautier (“Trills, Frills, and Decorative Frames for the Object of Desire”) are particularly illuminating, inspired by a kind of theoretical wit that does justice to their objects. Gordon is somewhat less successful in communicating the relevance to Mallarmé of Lacan, the exposition of whom—of which?—is laborious. But the responsibility probably lies more heavily with Lacan than with Gordon. Labored accounts of Lacan may even be considered as a species of ornament, a refinement and a new barbarism, peculiar to critical discourse in the fin of our own siècle.Geoffrey Galt HarphamTulane UniversityCopyright... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japan, France, and East-West Aesthetics: French Literature, 1867-2000Carol S. GouldJapan, France, and East-West Aesthetics: French Literature, 1867-2000. By Jan Walsh Hokenson. Madison and Teaneck: Fairleigh Dickinson University Press, 2004. Pp. 520. $80.00.Jan Walsh Hokenson's masterful work, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, traces the migration of the Japanese aesthetic into French art, through French literature, and ultimately (...) into Western modernism and postmodernism. Despite the title, this book goes beyond French poetics, for it deals with some philosophical views about knowledge and art, and it offers an extended argument for the value of comparative studies, including comparative philosophy. The author moves easily among the areas of literature, art, and philosophy, all of which she discusses with authority.Her story begins with the birth of 'japonisme,' the term coined by critic Philippe Burty in 1876 to refer to the passion-artistic and commercial-for things Japanese. She identifies three waves of japonisme in French literature: pre-World War I, between the wars, and post-World War II. She leads the reader through each of these waves, detailing the cultural and artistic milieu in each and closely analyzing key figures.For the origins of japonisme, Hokenson takes us to the studio of Parisian engraver, printmaker, and designer Felix Bracquemond in 1856, which was just after the end of Sakoku. Bracquemond, according to the "most persistent legend," [End Page 699] opened a box of Asian ceramics and discovered that they were wrapped in extraordinary materials-layers of Hokusai woodcut prints the likes of which he had never seen. He summoned members of his circle, which included Manet, Degas, and Whistler (pp. 13-15). It is thus through an intriguing historical contingency that this relatively inexpensive, mass-produced art form would become the inspiration for some of the most personal and expensive art works today. More relevant to Hokenson's interest, however, is the fact that these woodcuts would be a seminal force in the direction of French letters.Had Bracquemond not had the vision to see the artistry of these prints or had the shipper used a different packing material, would Western painting and literature have taken a different turn? Would the West have seen impressionism, symbolism, or art nouveau? Would Proust, Claudel, Mallarmé, and others have written different works? From Hokenson's account one gleans that the French avant-garde eye was ready to see Hokusai and others, for artists felt that the mimetic view of art had led them to an impasse. Visual and literary artists were ready to abandon the Renaissance ideals of verisimilitude, perspective, the integrity of space, and the linearity of time. They were ready to accept the fragmentation of picture space, perspectivism, and suggestiveness that were all characteristic of the Japanese aesthetic.She explains how Henri Bergson, with his theories of intuition and subjective time, provided a philosophical foundation for the artistic commitments of the early japonistes. She documents the access many of the japonistes had to Bergson. Bergson, like the japoniste poets and painters themselves, emerged from a French tradition of using subjectivity as a starting point. The reader sees this respect for the subjective interact with various Japanese influences over the course of the twentieth century. The receptiveness to the haiku exemplifies this phenomenon, as it begins from a fleeting, intuitive, personal experience. She points out that "by 2000, the haiku was almost a commonplace in French poetry" (p. 407).Although she says little about what Bergson may have absorbed from the japonistes, she does tell of the little-known influence exerted by the Japanese phenomenologist Kuki Shūzō in 1928 on Jean-Paul Sartre. Both Sartre and Simone de Beauvoir either forgot this relationship or forgot to mention it in their respective narratives about the development of existentialism. Indeed, this was not discovered, Hokenson reports, until the 1980s. She rightly points out that that this changes the usual story about French philosophy in the early twentieth century, for it means that Sartre became acquainted with German phenomenology before 1932 and from someone other than Raymond Aron (pp. 333-334, 343, 474 n. 10). In a fascinating discussion of Kuki's... (shrink)

Quasi-set theory has been proposed as a means of handling collections of indiscernible objects. Although the most direct application of the theory is quantum physics, it can be seen per se as a non-classical logic (a non-reflexive logic). In this paper we revise and correct some aspects of quasi-set theory as presented in [12], so as to avoid some misunderstandings and possible misinterpretations about the results achieved by the theory. Some further ideas with regard to quantum field theory are also (...) advanced in this paper. (shrink)

The Marquis de Sade is famous for his forbidden novels like _Justine, Juliette_, and the _120 Days of Sodom_. Yet, despite Sade's immense influence on philosophy and literature, his work remains relatively unknown. His novels are too long, repetitive, and violent. At last in _The Philosophy of the Marquis de Sade_, a distinguished philosopher provides a theoretical reading of Sade. Airaksinen examines Sade's claim that in order to be happy and free we must do evil things. He discusses the (...) motivations of the typical Sadean hero, who leads a life filled with perverted and extreme pleasures, such as stealing, murder, rape, and blasphemy. Secondary sources on Sade, such as Hobbes, Erasmusm, and Brillat-Savarin are analyzed, and modern studies are evaluated. _The Philosophy of the Marquis de Sade_ greatly enhances our understanding of Sade and his philosophy of pain and perversion. (shrink)

The semantic, or model-theoretic, approach to theories has recently come under criticism on two fronts: (i) it is claimed that it cannot account for the wide diversity of models employed in scientific practice—a claim which has led some to propose a “deflationary” account of models; (ii) it is further contended that the sense of “model” used by the approach differs from that given in model theory. Our aim in the present work is to articulate a possible response to these claims, (...) drawing on recent developments within the semantic approach itself. Thus, the first is answered by utilizing the notion of a “partial structure”, first introduced in this context by da Costa and French in 1990. The second claim is undermined by consideration of van Fraassen's understanding of “model” which corresponds well with that evinced by modem mathematicians. This latter discussion, in particular, has an impact on the continuing debate regarding the relative merits of the semantic and syntactic views and the developments presented here can be taken to provide further support to the former. (shrink)

Introduction. Toward a hermeneutics of skepticism -- Montaignean meditations -- Ideology, critique, and the event of literature -- Irony, power, and the death drive -- Queering difference, or the feminine logic of the "non-all" -- Immunizing ontology : the speculative turn -- Conclusion. Desire of the theorist.

In lieu of an abstract, here is a brief excerpt of the content:“We all love with the same part of the body, don’t we?”Iuliia Voznesenskaia’s Zhenskii Dekameron, New Women’s Prose, and French Feminist TheoryYelena Furman (bio)Starting out as a poet who eventually turned to fiction, Iuliia Voznesenskaia was also one of the main figures of the Soviet feminist movement, a fact that makes her biography both unusual and courageous. In the 1970s, Voznesenskaia’s involvement with the dissident movement in Leningrad (...) resulted in several arrests, imprisonment, and time in the camps.1 Although she was not initially interested in women’s issues, her incarceration in all-women’s camps and prisons convinced her that “the situation of women in our country demands special attention” (“Zhenskoe dvizhenie v Rossii” [“The Women’s Movement in Russia”] 41). Along with several other women dissidents, she founded the Soviet feminist movement, putting out the samizdat women’s journal Zhenshchina i Rossiia (Woman and Russia), which precipitated immediate reprisals from the KGB. A women’s club, Mariia, and a journal by the same name followed, as did more KGB reprisals. For her feminist activity, Voznesenskaia was expelled from the Soviet Union in 1980, settling in West Germany.2In 1985, in West Germany, Voznesenskaia wrote her first and best-known novel, Zhenskii Dekameron (The Women’s Decameron). The novel is set in a Leningrad maternity ward containing ten new mothers from different backgrounds with different life experiences: Larisa, Emma, Natasha, Nelia, Galina, and Valentina are educated and all have careers except Galina, whose occupation, admittedly strange for a feminist novel, seems to be a dissident’s wife; Ol’ga works in a shipyard; Irishka is a secretary; Al’bina is an Aeroflot flight attendant doubling as an escort on the KGB’s payroll; Zina is homeless and has served time in the camps; Valentina is a Party worker, whereas Galina is part of the dissident community. Quarantined together for ten days because of a spreading infection and inspired by Emma’s reading of Boccaccio’s Decameron, the women begin to tell each other stories to pass the time. As its title makes clear, Voznesenskaia’s novel is heavily indebted to Boccaccio’s, borrowing its structure and many of its themes, such as an emphasis on storytelling and sexual explicitness. The humor and poignancy of the women’s stories make it a highly enjoyable read, and the focus on female sexuality and the author’s play with the narrative set this novel apart from other Soviet writers’ works.3 The novel also features what is surely a unique occurrence in Russian and Soviet literature: an openly feminist character (Larisa), referred to by the authornarrator as “zhenshchinoi vpolne emansipirovannoi, mogushchei ukrasit’ soboi liuboe zapadnoe feministicheskoe obshchestvo” [“a completely emancipated woman, capable [End Page 95] of adorning any Western feminist group”] (13), who is moreover depicted in a wholly positive light.4Yet despite enjoying a modicum of success, including being translated into several languages and staged as a play, Zhenskii Dekameron remains an under-read and underrated work.5 The reasons for its relative obscurity are closely allied with Voznesenskaia’s political activities in the 1980s. Exiled abroad for being politically undesirable to Soviet authorities, she could not have her work published in the Soviet Union; rather, the novel came out in Russian in Israel in 1987 (Curtis 186n2).6 The lack of visibility from which she suffered in her native country changed only in the (post)glasnost’ period: in 1991, the novel was published in Russian in Tallinn, and in 1992, in Moscow.7 Despite being able to be published, however, Zhenskii Dekameron seems not to have made a strong impact on either readers or critics, and there does not appear to be any discussion of it in Soviet/ Russian literary journals.The novel likewise suffers from a lack of familiarity in the West. The interest Voznesenskaia generated among Western European and American feminists in the early 1980s was for her feminist activism in the Soviet Union, which preceded her novel writing. Zhenskii Dekameron seems to have made a modest impact on readers; scholars, too, discuss it only occasionally. The most comprehensive treatment of the work to date has been Jerzy Kolodziej... (shrink)

Department of History and Philosophy of Science. University of Cambridge, Free School Lane, Cambridge CB2 3RH This paper is concerned with the question of whether atomic particles of the same species, i. e. with the same intrinsic state-independent properties of mass, spin, electric charge, etc, violate the Leibnizian Principle of the Identity of Indiscernibles, in the sense that, while there is more than one of them, their state-dependent properties may also all be the same. The answer depends on what exactly (...) the state-dependent properties of atomic particles are taken to be. On the plausible interpretation that these should comprise all monadic and relational properties that can be expressed in terms of physical magnitudes associated with self-adjoint operators that can be defined for the individual particles, then the weakest form of the Principle is shown to be violated for bosons, fermions and higher-order paraparticles, treated in first quantization *Some of the arguments inn this paper appeared in a thesis submited by one of us (S.F.) In partial fulfilment of the requirements for the PhD degree of the University of London, in 1984. entitled 'Identity and ‘Individuality in Classical and Quantum Physics’. (shrink)

Although much of its history has been neglected or misunderstood, a structuralist 'tendency' has re-emerged within the philosophy of science. Broadly speaking, it consists of two fundamental strands: on the one hand, there is the identification of structural commonalities between theories; on the other, there is the metaphysical decomposition of objects in structural terms. Both have been pressed into service for the realist cause: the former has been identified primarily with Worrall's 'epistemic' structural realism; the latter with Ladyman's 'ontic' form. (...) And both raise important issues of general interest within the philosophy of science and metaphysics, respectively. The former invites questions regarding the identification and appropriate representation of these commonalities; the latter touches on different views regarding the nature of objects, the constitutive role of properties and the seat of causal powers. Both strands have recently come under critical fire. It is my intention to present a unified account of the 'structuralist tendency' which emphasizes the dual roles of structure as representational and constitutive, and to indicate how the more acute critical remarks can be dealt with. (shrink)

Wigner famously referred to the `unreasonable effectiveness' of mathematics in its application to science. Using Wigner's own application of group theory to nuclear physics, I hope to indicate that this effectiveness can be seen to be not so unreasonable if attention is paid to the various idealising moves undertaken. The overall framework for analysing this relationship between mathematics and physics is that of da Costa's partial structures programme.

Recent discussions of the nature of representation in science have tended to import pre-established decompositions from analyses of representation in the arts, language, cognition and so forth. Which of these analyses one favours will depend on how one conceives of theories in the first place. If one thinks of them in terms of an axiomatised set of logico-linguistic statements, then one might be naturally drawn to accounts of linguistic representation in which notions of denotation, for example, feature prominently. If, on (...) the other hand, one conceives of theories in non-linguistic terms, as in the model-theoretic approach, then one might look to analyses of representation in the arts where notions of resemblance tend to be brought to the fore. Thus van Fraassen, for example, has imported such an analysis into his discussion of representation in science and argued that an appropriate account of resemblance can be given in terms of the set-theoretic relation of isomorphism. This has been strongly criticised by Suarez, who argues that just as isomorphism cannot capture representation in art, so it is inappropriate in the scientific context as well. Similarly Hughes draws on Goodman`s rejection of resemblance in art in favour of denotation and, rather confusingly perhaps, favours the latter whilst also maintaining the model-theoretic view of theories. In this paper, I shall examine the debate in terms of four claims: 1. Isomorphism is not sufficient for representation; 2. Isomorphism is not necessary for representation; 3. Models represent but theories do not; 4. Models denote and do not resemble. Each of these claims will be questioned and I will conclude by suggesting that, through appropriate modifications, a form of isomorphism can serve to underpin representation in both the arts and science. (shrink)

Quantum theory explains a hugely diverse array of phenomena in the history of science. But how can the world be the way quantum theory says it is? Fifteen expert scholars consider what the world is like according to quantum physics in this volume and offer illuminating new perspectives on fundamental debates that span physics and philosophy.

Discussions of representation in science tend to draw on examples from art. However, such examples need to be handled with care given a) the differences between works of art and scientific theories and b) the accommodation of these examples within certain philosophies of art. I shall examine the claim that isomorphism is neither necessary nor sufficient for representation and I shall argue that there exist accounts of representation in both art and science involving isomorphism which accommodate the apparent counterexamples and, (...) moreover, allow us to understand how “impossible” artistic objects and inconsistent scientific theories can be said to represent. (shrink)

What role have experiments played, and should they play, in physics? How does one come to believe rationally in experimental results? The Neglect of Experiment attempts to provide answers to both of these questions. Professor Franklin's approach combines the detailed study of four episodes in the history of twentieth century physics with an examination of some of the philosophical issues involved. The episodes are the discovery of parity nonconservation in the 1950s; the nondiscovery of parity nonconservation in the 1930s, when (...) the results of experiments indicated, at least in retrospect, the symmetry violation, but the significance of those results was not realized; the discovery and acceptance of CP symmetry; and Millikan's oil-drop experiment. Franklin examines the various roles that experiment plays, including its role in deciding between competing theories, confirming theories, and calling fo new theories. The author argues that one can provide a philosophical justification for these roles. He contends that if experiment plays such important roles, then one must have good reason to believe in experimental results. He then deals with deveral problems concerning such reslults, including the epistemology of experiment, how one comes to believe rationally in experimental results, the question of the influence of theoretical presuppositions on results, and the problem of scientific fruad. This original and important contribution to the study of the philosophy of experimental science is an outgrowth of many years of research. Franklin brings to this work more than a decade of experience as an experimental high-energy physicist, along with his significant contributions to the history and philosophy of science. (shrink)

Various forms of underdetermination that might threaten the realist stance are examined. That which holds between different 'formulations' of a theory (such as the Hamiltonian and Lagrangian formulations of classical mechanics) is considered in some detail, as is the 'metaphysical' underdetermination invoked to support 'ontic structural realism'. The problematic roles of heuristic fruitfulness and surplus structure in attempts to break these forms of underdetermination are discussed and an approach emphasizing the relevant structural commonalities is defended.

Within the philosophy of science, the realism debate has been revitalised by the development of forms of structural realism. These urge a shift in focus from the object oriented ontologies that come and go through the history of science to the structures that remain through theory change. Such views have typically been elaborated in the context of theories of physics and are motivated by, first of all, the presence within such theories of mathematical equations that allow straightforward representation of the (...) relevant structures; and secondly, the implications of such theories for the individuality and identity of putative objects. My aim in this talk is to explore the possibility of extending such views to biological theories. An obvious concern is that within the context of the latter it is typically insisted that we cannot find the kinds of highly mathematised structures that structural realism can point to in physics. I shall indicate how the model-theoretic approach to theories might help allay such concerns. Furthermore, issues of identity and individuality also arise within biology. Thus Dupre has recently noted that there exists a ‘General Problem of Biological Individuality’ which relates to the issue of how one divides ‘massively integrated and interconnected’ systems into discrete components. In response Dupre advocates a form of ‘Promiscuous Realism’ that holds, for example, that there is no unique way of dividing the phylogenetic tree into kinds. Instead I shall urge serious consideration of those aspects of the work of Dupre and others that lean towards a structuralist interpretation. By doing so I hope to suggest possible ways in which a structuralist stance might be extended to biology. (shrink)

We present four classical theories of counterpossibles that combine modalities and counterfactuals. Two theories are anti-vacuist and forbid vacuously true counterfactuals, two are quasi-vacuist and allow counterfactuals to be vacuously true when their antecedent is not only impossible, but also inconceivable. The theories vary on how they restrict the interaction of modalities and counterfactuals. We provide a logical cartography with precise acceptable boundaries, illustrating to what extent nonvacuism about counterpossibles can be reconciled with classical logic.

Thirty years after the conference that gave rise to The Structure of Scientific Theories, there is renewed interest in the nature of theories and models. However, certain crucial issues from thirty years ago are reprised in current discussions; specifically: whether the diversity of models in the science can be captured by some unitary account; and whether the temporal dimension of scientific practice can be represented by such an account. After reviewing recent developments we suggest that these issues can be accommodated (...) within the partial structures formulation of the semantic or model-theoretic approach. (shrink)

The ontological status of theories themselves has recently re-emerged as a live topic in the philosophy of science. We consider whether a recent approach within the philosophy of art can shed some light on this issue. For many years philosophers of aesthetics have debated a paradox in the (meta)ontology of musical works (e.g. Levinson [1980]). Taken individually, there are good reasons to accept each of the following three propositions: (i) musical works are created; (ii) musical works are abstract objects; (iii) (...) abstract objects cannot be created. However it seems clear that, if one wants to avoid inconsistency, one cannot commit to all three. Following up recent developments courtesy of Cameron ([2008a]), we consider how one might respond to the corresponding set of propositions in the (meta)ontology of scientific theories. 1 Introduction2 Setting up the Problem3 What to Reject? 3.1 Scientific theories are not created? 3.2 Scientific theories are not abstract objects? 3.3 Abstract objects can be created?4 A Fourth Way: Truth-maker Theory5 Objections and Replies 5.1 What are the truth-makers? 5.2 Objections from World 3 5.3 Fictionalism 5.4 Concrete/abstract6 Conclusion. (shrink)

The Problem of Perception is a pervasive and traditional problem about our ordinary conception of perceptual experience. The problem is created by the phenomena of perceptual illusion and hallucination: if these kinds of error are possible, how can perceptual experience be what we ordinarily understand it to be: something that enables direct perception of the world? These possibilities of error challenge the intelligibility of our ordinary conception of perceptual experience; the major theories of experience are responses to this challenge.

Current analytic metaphysics has been claimed to be, at best, out of touch with modern physics, at worst, actually in conflict with the latter The continuum companion to the philosophy of science, Continuum, London, 2011; Ladyman and Ross Every thing must go: metaphysics naturalized, Oxford University Press, Oxford, 2007). While agreeing with some of these claims, it has been suggested that metaphysics may still be of service by providing a kind of ‘toolbox’ of devices that philosophers of science can access (...) in order to help provide an interpretation of theories in fundamental physics Metaphysics in contemporary physics, Rodopi, Amsterdam, 2015). In this context it has been argued that ‘standard’ forms of dispositionalism simply cannot be sustained in the context of modern physics but that certain ‘non-standard’ views may provide the resources to help explicate the sense in which physics may be regarded as ‘modally informed’. Here that suggestion will be further extended in order to consider the implications both with regard to the overall relevance of metaphysics given advances in science and for the prospects of a naturalised metaphysics more generally. In particular, this paper will focus on three concerns: that the particular tools identified are not, in fact, ‘scientifically disinterested’ and thus that the distinction between ‘naturalised’ and ‘non-naturalised’ metaphysics is at best vague or poorly drawn; that the usefulness of such tools depends on their being shaped to fit the relevant physics and thus the latter ‘guts’ metaphysics; that if metaphysics does prove to be useful in this sense then we have no reason to scorn non-naturalised metaphysics to begin with. (shrink)

This volume is presented in honour of Heinz Post, who founded a distinc tive and distinguished school of philosophy of science at Chelsea College, University of London. The 'Chelsea tradition' in philosophy of science takes the content of science seriously, as exemplified by the papers presented here. The unifying theme of this work is that of 'Correspondence, Invariance and Heuristics', after the title of a classic and seminal paper by Heinz Post, published in 1971, which is reproduced in this volume (...) with the kind permission of the editors and publishers of Studies in History and Philosophy of Science. Described by Paul Feyerabend in Against Method as "brilliant" and " . . . a partial antidote against the view which I try to defend" (1975, p. 61, fn. 17), this paper, peppered with illustrative examples from the history of science, brings to the fore some of Heinz Post's central concerns: the heuristic criteria used by scientists in constructing their theories, the intertheoretic relationships which these criteria reflect and, in particular, the nature of the correspondence that holds between a theory and its predecessors (and its suc cessors). The appearance of this volume more than twenty years later is an indica tion of the fruitfulness of Post's contribution: philosophers of science continue to explore the issues raised in his 1971 paper. (shrink)

Cartwright and her collaborators have elaborated a provocative view of science which emphasises the independence from theory &unknown;in methods and aims&unknown; of phenomenological model building. This thesis has been supported in a recent paper by an analysis of the London and London model of superconductivity. In the present work we begin with a critique of Cartwright's account of the relationship between theoretical and phenomenological models before elaborating an alternative picture within the framework of the partial structures version of the semantic (...) approach to theories. Drawing on the recent histories of superconductivity by Dahl and Gavroglu, together with the original works by London and London and by F. London separately, and taking due consideration of the heuristic aspects, we argue that the historical details fail to support Cartwright et al.'s claims but that they fit comfortably within the partial structures framework. (shrink)

Stein once urged us not to confuse the means of representation with that which is being represented. Yet that is precisely what philosophers of science appear to have done at the meta-level when it comes to representing the practice of science. Proponents of the so-called ‘syntactic’ view identify theories as logically closed sets of sentences or propositions and models as idealised interpretations, or ‘theoruncula, as Braithwaite called them. Adherents of the ‘semantic’ approach, on the other hand, are typically characterised as (...) taking them to be families of models that are set-theoretic, according to Suppes and others, or abstract, as Giere has argued. da Costa and French (Science and Partial Truth. OUP, Oxford, 2003) suggested that we should refrain from ontological speculation as to the nature of scientific theories and models and focus on their appropriate representation for various purposes within the philosophy of science. Such an approach allows both linguistic and non-linguistic resources to play their appropriate role (see also French and Saatsi, Philosophy of Science, Proceedings of the 2004 PSA Meeting, 78:548–559, 2006) and can be supported by recent case studies illustrating the heterogeneity of scientific practice. My aim in this paper is to further develop this ‘quietist’ view, and to indicate how it offers a fruitful way forward for the philosophy of science. (shrink)

In this essay I shall focus on the adoption of the Semantic Approach by structural realists, including myself, who have done so on the grounds that it wears its structuralist sympathies on its sleeve. Despite this, the SA has been identified as standing in tension with the ontological commitments of the so-called ’ontic’ form of this view and so I shall explore that tension before discussing the usefulness of the SA in framing scientific representation and concluding with a discussion of (...) the implications of the ontological status of theories and models themselves. (shrink)