Normative dualism between descriptions of the mental and the physical is still a problem for many philosophers that provokes more and more attempts to justify it, or, on the contrary, to overcome it by means of reduction. The problem of a special normative status of mental states is usually considered in isolation from the concept of truth. Moreover, the definition of truth is often construed only as a part of the problem of normativity: in this case, truth is only a (...) kind of norm, for example, a goal of scientific research. Donald Davidson, however, believed that truth is not the norm and that, on the contrary, norms are possible only through the use of the primitive and original concept of truth already available to us. In this paper, we propose that if one develops an idea of such a conceptual dependence between truth and norms in a certain way, then it will become possible to solve the problem of a normative gap between our descriptions of the mental and the physical. In other words, if the assimilation of the concept of truth precedes the learning of norms pertaining to the mental and the physical, then the solution for the problem of the gap between these norms can be directly related to conditions and differences in the use of the notion of truth. (shrink)

The article examines some well-known attempts to consider Ludwig Wittgenstein’s Philosophical Investigations in the context of transcendental idealism. The main purpose of these attempts is to protect Wittgenstein’s later philosophy from the relativistic interpretation of such concepts a “language games” and “forms of life.” Thus, Bernard Williams, noting the ambiguity of the pronoun “we” in Philosophical Investigations, believes that such a “we” has a transcendental rather than empirical character. This approach allows Williams to argue that there is no meaningful alternative (...) to the general perspective on the world that is embodied in this “we.” However, the main disadvantage of this approach is that Williams views such a “we” in much the same way as a conceptual schema. However, as many authors point out, this idea does not find its confirmation in the later works of Wittgenstein. Jonathan Lear, in turn, suggests that we should consider such a non-empirical “we” as a special kind of “mindedness.” Such a mindedness could be considered as analogous to a Kant’s analytical principle of apperception. Lear believes that it is this principle that gives meaningful unity to human behaviour and makes possible any communication with other people. Following Williams and trying to correct the shortcomings of his position, Lear proposes to consider the ambiguous status of “we” in Philosophical Investigations as an argument in favour of the “disappearance” of the transcendental “we,” and with it the disappearance of the threat of relativism. John McDowell, however, agreeing with the need to get rid Wittgenstein's philosophy of relativistic interpretations, critically assesses the idea of using transcendental idealism for this purpose. Instead, McDowell proposes to return to Hegel’s thesis about the unboundedness of the conceptual, which makes it unnecessary to appeal to the transcendental justification of harmony between reason and the world. The article, therefore, also examines McDowell’s arguments against attributing to Wittgenstein any versions of transcendental idealism. (shrink)

The article considers pros and cons for a theoretic-measurement analogy, proposed by some philosophers as an illustration of semantic indeterminacy. Within this analogy ascribing of meanings to a certain linguistic expressions is compared with attribution of numbers according to a certain theory of measurement. Donald Davidson used this analogy in order to extend W.V.O. Quine's thesis of indeterminacy of translation to the interpretation of all human behavior. In other words, not only linguistic meanings, but all mental states are considered as (...) indeterminate. The article explains the failure of some counter-arguments put forward against Davidson's use of this analogy and against the thesis of indeterminacy on the whole. Particularly, instrumentalist version of the analogy is rejected for there is no direct relation between indeterminacy and underdetermination of theories by empirical evidences. The article concludes that the semantic indeterminacy is largely based on indeterminacy of rationality. (shrink)

Šio straipsnio tikslas yra parodyti, kaip ir kodėl radikalios interpretacijos metodas gali išspręsti problemas, formuluojamas įvairių skeptinių scenarijų pavidalu. Pirmiausia radikalios interpretacijos metodas neleidžia dekartiško skeptinio scenarijaus, tiek tradicinės, tiek naujesnių versijų, laikyti filosofine problema, kuri remiasi sąmoningo ir nesąmoningo melo skirtumu. Straipsnyje argumentuojama už išplėstinę natūralizuotos epistemologijos versiją, įtraukiančią ir socialinius veiksnius. Konkrečiau, hipotezių apie žinojimą ir apgaulę komunikavimui visuomet galioja bent du apribojimai. Be to, straipsnyje aiškinama nuosaikaus eksternalizmo būtinybė dekartiškam ir hiumiškam skeptiniams scenarijams.

A common and driving assumption in agricultural research is that the introduction of research trials, new practices and innovative technologies will result in technology adoption, and will subsequently generate benefits for farmers and other stakeholders. In Lao PDR, the potential benefits of introduced technologies have not been fully realised by beneficiaries. We report on an analysis of a survey of 735 smallholder farmers in Southern Lao PDR who were questioned about factors that influenced their decisions to adopt new technologies. In (...) this study, we have constructed measures or states of adoption which identify key elements of an adoption decision-making nexus. Analysis was conducted to statistically group explanatory factors of adoption. The key explanatory factors represented attributes of the farmer, the factors considered when undertaking production decisions and elements of the agricultural value chain that present as opportunities or constraints. We describe the combination of farmer’s personal attributes, perceptions of the value chain, and the introduction of new technologies by external actors as an “agricultural research value chain”, where agricultural research activities intervene to derive greater benefits for local farmers. A generalised linear model, via Poisson regression analysis on the identified explanatory factors, was applied to explore how they influence adoption measures and we found several significant relationships. (shrink)

Shakespeare’s plays abound with kings and leaders who crave a public stage and seize every opportunity to make their lives a performance: Antony, Cleopatra, Richard III, Othello, and many others. Such self-dramatizing characters appear in the work of other playwrights of the era as well, Marlowe’s Edward II and Tamburlaine among them. But Elizabethan playwrights were not alone in realizing that a sense of theater was essential to the exercise of power. Real rulers knew it, too, and none better than (...) Queen Elizabeth. In this fascinating study of political stagecraft in the Elizabethan era, Garry Wills explores a period of vast cultural and political change during which the power of make-believe to make power real was not just a theory but an essential truth. Wills examines English culture as Catholic Christianity’s rituals were being overturned and a Protestant queen took the throne. New iconographies of power were necessary for the new Renaissance liturgy to displace the medieval church-state. The author illuminates the extensive imaginative constructions that went into Elizabeth’s reign and the explosion of great Tudor and Stuart drama that provided the imaginative power to support her long and successful rule. (shrink)

Benevolent intersubjectivity developed in parent–infant interactions and compassion toward friend and foe alike are non-violent interventions to group behavior in conflict. Based on a dyadic active inference framework rooted in specific parental brain mechanisms, we suggest that interventions promoting compassion and intersubjectivity can reduce stress, and that compassionate mediation may resolve conflicts.

Renaissance plays and poetry in England were saturated with the formal rhetorical twists that Latin education made familiar to audiences and readers. Yet a formally educated man like Ben Jonson was unable to make these ornaments come to life in his two classical Roman plays. Garry Wills, focusing his attention on _Julius Caesar_, here demonstrates how Shakespeare so wonderfully made these ancient devices vivid, giving his characters their own personal styles of Roman speech. In four chapters, devoted to four of (...) the play’s main characters, Wills shows how Caesar, Brutus, Antony, and Cassius each has his own take on the rhetorical ornaments that Elizabethans learned in school. Shakespeare also makes Rome present and animate by casting his troupe of experienced players to make their strengths shine through the historical facts that Plutarch supplied him with. The result is that the Rome English-speaking people carry about in their minds is the Rome that Shakespeare created for them. And that is even true, Wills affirms, for today’s classical scholars with access to the original Roman sources. (shrink)

Renaissance plays and poetry in England were saturated with the formal rhetorical twists that Latin education made familiar to audiences and readers. Yet a formally educated man like Ben Jonson was unable to make these ornaments come to life in his two classical Roman plays. Garry Wills, focusing his attention on _Julius Caesar_, here demonstrates how Shakespeare so wonderfully made these ancient devices vivid, giving his characters their own personal styles of Roman speech. In four chapters, devoted to four of (...) the play’s main characters, Wills shows how Caesar, Brutus, Antony, and Cassius each has his own take on the rhetorical ornaments that Elizabethans learned in school. Shakespeare also makes Rome present and animate by casting his troupe of experienced players to make their strengths shine through the historical facts that Plutarch supplied him with. The result is that the Rome English-speaking people carry about in their minds is the Rome that Shakespeare created for them. And that is even true, Wills affirms, for today’s classical scholars with access to the original Roman sources. (shrink)

In this brief and incisive book, Pulitzer Prize-winning historian Garry Wills tells the story of the Confessions--what motivated Augustine to dictate it, how it asks to be read, and the many ways it has been misread in the one-and-a-half millennia since it was composed. Following Wills's biography of Augustine and his translation of the Confessions, this is an unparalleled introduction to one of the most important books in the Christian and Western traditions. Understandably fascinated by the story of Augustine's life, (...) modern readers have largely succumbed to the temptation to read the Confessions as autobiography. But, Wills argues, this is a mistake. The book is not autobiography but rather a long prayer, suffused with the language of Scripture and addressed to God, not man. Augustine tells the story of his life not for its own significance but in order to discern how, as a drama of sin and salvation leading to God, it fits into sacred history. "We have to read Augustine as we do Dante," Wills writes, "alert to rich layer upon layer of Scriptural and theological symbolism." Wills also addresses the long afterlife of the book, from controversy in its own time and relative neglect during the Middle Ages to a renewed prominence beginning in the fourteenth century and persisting to today, when the Confessions has become an object of interest not just for Christians but also historians, philosophers, psychiatrists, and literary critics. With unmatched clarity and skill, Wills strips away the centuries of misunderstanding that have accumulated around Augustine's spiritual classic. (shrink)

In this paper, I support a hybrid form of expressivism called constructive ecumenical expressivism (CEE) which I have previously used (to attempt) to resolve the gamer’s dilemma. (Young, 2016. Resolving the gamer’s dilemma. London: Palgrave Macmillan.) In support of CEE, I argue that the various other attempts at either resolving, dissolving or resisting the dilemma are consistent with CEE’s moral framework. That is, with its way of explaining what a claim to morality is, with how moral norms are established, with (...) the role intuition is able to play in establishing these norms, and therefore with how the gamer’s dilemma can be resolved. I also demonstrate, more broadly, how CEE advocates robust relativism as a means of justifying the constructed moral norm’s normative credentials, and therefore how one society’s norm can be judged morally superior to another’s. (shrink)

This paper raises three objections to the argument presented by Ostritsch in The amoralist challenge to gaming and the gamer’s moral obligation, in which the amoralist’s mantra “it’s just a game” is viewed as an illegitimate rebuttal of all moral objections to video games. The first objection focuses on Ostritsch’s ‘strong sense’ of player enjoyment, which I argue is too crude, given the moral work it is meant to be doing. Next, I question the legitimacy of Ostritsch’s claim that certain (...) video games are immoral. I examine what is involved in making this claim and what would be required for a normative position to be established: none of which is addressed by Ostritsch. Finally, I challenge the legitimacy of his claim that players are obliged not to play certain video games in certain ways. I distinguish between immoral and suberogatory actions, arguing that the latter is in fact more applicable to cases Ostritsch has in mind, and that one is not obliged not to engage in these actions. (shrink)

The emotional traumas news photographers experience are not often discussed outside the newsroom. Here professional newspaper photographer Garry Bryant offers a personal testimonial on the effects his job has had on him, as well as on the public. The excitement and drama of shooting spot news at accidents and disasters have caused a certain dulling of the senses, but on the other hand have heightened Bryant's awareness of the importance of his work. A variety of Bryant's favorite photos illustrate this (...) article, capturing the range of the human condition. (shrink)

_A penetrating study of the images, symbols, pageants, and creative performances ambitious Elizabethans used to secure political power_ Shakespeare’s plays abound with kings and leaders who crave a public stage and seize every opportunity to make their lives a performance: Antony, Cleopatra, Richard III, Othello, and many others. Such self-dramatizing characters appear in the work of other playwrights of the era as well, Marlowe’s Edward II and Tamburlaine among them. But Elizabethan playwrights were not alone in realizing that a sense (...) of theater was essential to the exercise of power. Real rulers knew it, too, and none better than Queen Elizabeth. In this fascinating study of political stagecraft in the Elizabethan era, Garry Wills explores a period of vast cultural and political change during which the power of make-believe to make power real was not just a theory but an essential truth. Wills examines English culture as Catholic Christianity’s rituals were being overturned and a Protestant queen took the throne. New iconographies of power were necessary for the new Renaissance liturgy to displace the medieval church-state. The author illuminates the extensive imaginative constructions that went into Elizabeth’s reign and the explosion of great Tudor and Stuart drama that provided the imaginative power to support her long and successful rule. (shrink)

In this paper I respond to Coren’s argument against my 2016 paper in which I present a case for the principle of alternate possibilities as sufficient but not necessary for the ascription of moral responsibility ). I concede that Coren has identified aspects of my original position that are vulnerable to counter-examples. Nevertheless, through a simple amendment to my original argument I am able to respond to these counter-examples without undermining the foundations on which my 2016 paper was built. Moreover, (...) it is my contention that the main challenge Coren presents to my original paper involves making explicit that which is already implied within PAP. Therefore, while I acknowledge that my argument for PAP requires further clarification, this can be achieved without undermining my original position. (shrink)

Washington eludes us, even in the city named for him. Other leaders are accessible there—Lincoln brooding in square-toed rectitude at his monument, a Mathew Brady image frozen in white, throned yet approachable; Jefferson democratically exposed in John Pope’s aristocratic birdcage. Majestic, each, but graspable.Washington’s faceless monument tapers off from us however we come at it—visible everywhere, and perfect; but impersonal, uncompelling. Yet we should remember that this monument, unlike the other two, was launched by private efforts. When government energies were (...) stalled, in the 1830s, subscriptions kept the project alive. Even when Congress took over the project, stones were added by the citizenry, those memorial blocks one can study while descending the long inner stairway. The classical control of the exterior hides a varied and spontaneous interior—an image of the puzzle that faces us, the early popularity of someone lifted so high above the populace. The man we can hardly find was the icon our ancestors turned to most easily and often. We are distanced from him by their generosity, their willingness to see in him something more than human.The larger they made Washington, the less they left us to admire—until, in Horatio Greenough’s George Washington, he becomes invisible by sheer vastness. Greenough took for his model what the neoclassical period believed was the greatest statue ever created, by the greatest sculptor who ever lived—the Elean Zeus of Phidias. Since that chryselephantine wonder was no longer extant, artists had to rely on the description given by Pausanias in the Description of Greece, and on coins of Elis that celebrated the work. Here is what Pausanias had to say.The seated god is himself fashioned from gold and ivory; the garland on his head appears to be real olive shoots. In his right hand he holds a Victory, also of gold and ivory, offering a ribbon, a garland on her head. In the god’s left hand there is a scepter, encrusted with every kind of metal, and the bird on the tip is an eagle.1 1. Pausanias Description of Greece 5. 11. Garry Wills, a prize-winning author and journalist, is Henry R. Luce Professor of American Culture and Public Policy at Northwestern University. Among his many books are Nixon Agonistes , Inventing America , and The Kennedy Imprisonment . His forthcoming book, Cincinnatus: George Washington in the Englightenment, will appear in June 1984. His previous contribution to Critical Inquiry was “Critical Inquiry in Clausewitz”. (shrink)

Literature is a complex and multifaceted expression of our humanity, one dimension of which is ethical content. This striking collection of new essays pursues a fuller and richer understanding of five of the central aspects of this ethical content. These aspects are: the question of character, its formation, and its role in moral discernment; poetic vision in the context of ethical understanding; literature's distinctive role in self-identity and self-understanding; patterns of moral growth and change that emerge from the philosophical reading (...) of literature; and the historical sources and genealogies of some of our most central contemporary conceptions of the ethical dimension of literature. The volume engages with literary work from Homer to J. M. Coetzee, Shakespeare to David Foster Wallace, and explores the philosophy of Plato, Aristotle, Descartes, Locke, Kant, Hegel, Freud, Heidegger, Wittgenstein, Levinas, and others. This rich collection presents some of the best new thinking about the ethical content that lies within literature, and it shows why our reflective absorption in literature is the humane--and humanizing--experience many of us have long taken it to be. (shrink)

In this paper I advance an interpretation of Nietzsche's notions of amor fati and eternal recurrence in which they are taken to delimit the project of becoming well-disposed to life and oneself. I argue that interpreted in this way these notions do not have the problematic implications which stand in the way of our adopting them and, in fact, cast light on how we may theoretically understand and practically live our lives.

Although intersectional analyses of gender have been widely adopted by feminist theorists in many disciplines, controversy remains over their character, limitations, and implications. I support intersectionality, cautioning against asking too much of it. It provides standards for the uses of methods or frameworks rather than theories of power, oppression, agency, or identity. I want feminist philosophers to incorporate intersectional analyses more fully into our work so that our theories can, in fact, have the pluralistic and inclusive character to which we (...) give lip service. To this end, I advocate an intersectional family resemblance strategy that does not create philosophical problems for feminists. I test my approach against María Lugones's argument in “Heterosexualism and the Colonial/Modern Gender System” (Lugones 2007) to determine, in particular, whether we can successfully resist a move to create multiple genders for women. If we can successfully resist this move, then we can answer the objection that intersectionality fragments women both theoretically and politically. I also argue that my approach avoids Lugones's critique of forms of intersectionality that fall within “the logic of purity.”. (shrink)

For centuries, Augustine of Hippo's writings have moved and fascinated readers. With the fresh, keen eye of a writer whose own intellectual analysis has won him a Pulitzer Prize, Garry Wills examines this famed fourth-century bishop and seminal thinker whose grounding in classical philosophy informed his influential interpretation of the Christian doctrines of mind and body, wisdom and God.Saint Augustine explores both the great ruminator on the human condition and the everyday man who set pen to parchment. It challenges many (...) misconceptions - among them those regarding his early sexual excesses. Here, for students, Christians, and voyagers into the new millennium, is a lively and incisive portrait of one who helped to shape our thought. (shrink)

De Muralt's ambition is to carry out such 'historical' inquiries in the form of a structural analysis of philosophy, which he regards as a rigorous philosophical discipline - that is, as a science.

Does non-representational art itself constitute a refutation of any theory of art based upon mimesis or imitation? Our intuitions regarding this question seem to support an affirmative answer: it appears impossible to account for abstract and non-representational art in terms of imitation, because, to put the problem simply, if nothing is copied in a work of art then there can be nothing essentially imitative about it. The very notion of abstract imitative art seems self-contradictory.

Peter Kivy has said that the power of purely instrumental music remains an unexplained wonder. With this larger question in mind, I will consider: the issues in musical aesthetics that led to what Kivy termed his enhanced formalism, his conception of expressive properties in music and how a distinction between having and understanding an emotion can help clarify this issues here, and, most importantly for Kivy’s larger mystery, the way that counterpoint, in an often unrecognized way, can present mimetic content (...) of a kind that can explain the sense of musical profundity that it often awakens. It may turn out that absolute music’s profundity can be explained by the resonances this kind of layered and complex music has with the living, the ordering, the making sense, of a life. (shrink)

Does non-representational art itself constitute a refutation of any theory of art based upon mimesis or imitation? Our intuitions regarding this question seem to support an affirmative answer: it appears impossible to account for abstract and non-representational art in terms of imitation, because, to put the problem simply, if nothing is copied in a work of art then there can be nothing essentially imitative about it. The very notion of abstract imitative art seems self-contradictory.

Ethics in the Virtual World examines the gamer's enactment of taboo activities in the context of both traditional and contemporary philosophical approaches to morality. The book argues that it is more productive to consider what individuals are able to cope with psychologically than to determine whether a virtual act or representation is necessarily good or bad. The book raises pertinent questions about one of the most rapidly expanding leisure pursuits in western culture: should virtual enactments warrant moral interest? Should there (...) be a limit to what can be enacted or represented within these games? Or, is it all just a game? (shrink)

In this paper I defend the traditional anti-intellectualist claim that a form of knowing how to Φ (e.g., knowing how to play the guitar) exists that entails the ability to Φ (play the guitar), and that this knowledge cannot be reduced to propositions (such as ‘S knows a way _w_ to Φ’, where _w_ is a means of Φing). I also argue that S can know how to Φ in the absence of the ability to Φ, and for this knowledge (...) to be likewise irreducible to propositions. This is made possible when one distinguishes between type and token actions. Moreover, I contend that type and token actions, and one’s ability to engage in them, are differentiated at the level of motor representations. Motor representations provide an alternate means of grading knowledge how to that presented by Carlotta Pavese, insofar as this form of gradable knowledge is likewise irreducible to propositions. (shrink)

K. J. Mckay includes Sappho i u in his interesting discussion of doors that open spontaneously at the advent of a god. He glides without mention over the fact that workmen are ordered to do the opening and that the workmen's task—an extensive one, justifying a use of the plural —is not simply to open the door but to increase the whole structure's height (). Later in his essay , while discussing Psalm 24, McKay remembers that the idea of gates (...) opening upward is found in Oriental literature, not in Greek. It is odd that, three pages earlier, he forgot to apply this information to Sappho. (shrink)

K. J. Mckay includes Sappho i u in his interesting discussion of doors that open spontaneously at the advent of a god. He glides without mention over the fact that workmen are ordered to do the opening and that the workmen's task—an extensive one, justifying a use of the plural —is not simply to open the door but to increase the whole structure's height (). Later in his essay, while discussing Psalm 24, McKay remembers that the idea of gates opening (...) upward is found in Oriental literature, not in Greek. It is odd that, three pages earlier, he forgot to apply this information to Sappho. (shrink)

Jeffrey Alexander argues that despite Bourdieu’s considerable achievements ultimately his work is reductionist and determinist. He further argues that though Bourdieu is a middle range theorist he is implicitly realist in his meta-theoretical assumptions. This article accepts these conclusions but argues that Bourdieu’s meta-theoretical realism is a virtue rather than a vice and that the manner in which he is a reductionist and determinist necessitate a re-thinking of what is meant by these notions. Alexander uses Bourdieu’s concept of habitus to (...) demon-strate a fundamental contradiction in Bourdieu’s theorising. According to him habitus presents us with the oxymoron of unconscious strategisation. This article uses a discussion of habitus in order to demonstrate that in its relationship with the concept of field it instead produces a practical resolution of long standing theoretical problems concerning structural determination and human agency. It is also argued that these problems are resolved at the meta-theoretical level in the form of critical realist ontology and that it is Alexander’s misunderstandings on this level which cause him to fail to appreciate the significance of Bourdieu’s achievements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 196-210 [Access article in PDF] On Philosophy as Therapy:Wittgenstein, Cavell, and Autobiographical Writing Garry Hagberg IN HIS LATER PHILOSOPHICAL WRITINGS Wittgenstein was exquisitely sensitive to the misleading implications housed within the formulations of philosophical questions. The question with which he opened the Blue Book, "What is the meaning of a word?," the question "What is thinking?," and the question "What constitutes understanding?," each put (...) into place presumptions concerning how an answer is going to proceed: in the first, that the meaning will be an entity of some kind—likely of an ontological kind different from the acoustical or calligraphic sensory property of the word (to which we will then think the meaning attached); in the second, that thinking will be in essence a determinate mental process or event—likely one of an ontological kind different from that of speaking (to which we will then picture thinking as prior); in the third, an inner process culminating in a state that is metaphysically hidden from all things outer and that is the inner condition that lies unreachable behind what we will then call the behavior that is contingently correlated with it. It is by now no secret that each of these questions has been subjected to thorough scrutiny throughout the writings in The Blue and Brown Books, Philosophical Investigations, Remarks on the Philosophy of Psychology, Last Writings on the Philosophy of Psychology, Zettel, and even more extensively in the typescripts and manuscripts from which these are taken. 1 But it is still perhaps less widely realized than it might be that the very phrase "Wittgenstein's method" can easily prove as misleading as each of the above questions, and there is an aspect of irony waiting to dawn on those who reflect that the modern philosopher most concerned to maintain a philosophically relevant mindfulness about front-loaded [End Page 196] implications is perhaps too often not afforded precisely the mindfulness about his own later philosophical writings that he was most concerned to teach.The phrase "Wittgenstein's method" might well lead us to expect, in the first place, a unitary way of contending with philosophical difficulties that is employed across the board; in the second place, it might lead us to expect an acceptance of a set of perennial problems as framed by philosophers through the ages that are treated with that unitary method; and in the third place, it might lead us to expect a set of solutions to those time-honored questions providing answers formulated in a way parallel to, if different from, those worked out by Frege, Russell, Quine, or many others before and since. Indeed, such an expectation has often outlived the recognition that Wittgenstein's own writings are presented in a piecemeal way that seems not to offer any such overarching method or any such problem-accepting concisely formulated answers; some have simply assumed that, while Wittgenstein himself did not or could not provide such results, the raw material is there, and the task of interpretation, in his case, just comes to the task of argument-and-position formulation. To load a spatial metaphor into epistemology, nothing could be further from the truth. What Wittgenstein's later writings offer us is—to put the matter in a different way misleadingly briefly—a way of seeing philosophical problems that constitutes a radical departure from the approaches of Frege, Russell, Quine, and so many others. And in enacting this departure throughout his writings from the Blue Book and the Cambridge lectures of those years through to his final remarks in On Certainty, he himself, wary of too simply or too conventionally characterizing his own ways of working, appeals to the notion of therapy. This is a fitting concept for a moment in philosophy's history of radical departure and an ensuing process of radical change.It is true that in the Tractatus Wittgenstein wrote "Most of the propositions and questions of philosophers arise from our failure to understand the logic of our language" (4.003), and it would not be wrong to call... (shrink)

Theories of thought insertion have tended to favour either the content of the putatively alien thought or some peculiarity within the experience itself as a means of explaining why the subject differentiates one thought from another in terms of personal ownership. There are even accounts that try to incorporate both of these characteristics. What all of these explanations share is the view that it is unexceptional for us to experience thought as our own. The aim of this paper is to (...) consider the means by which this awareness of the myness of thought occurs. Why is it that I, as the subject of thought, typically experience a thought as mine? Using research which investigates the development of a child’s awareness of the act of thinking, I will evaluate leading explanations of thought insertion. It is my contention that by understanding the means by which the awareness of one’s ownership of thought develops, we can better assess explanations of thought insertion; and whilst, at present, no theory is fully able to explain the condition, the incorporation of developmental research suggest that we should favour one in particular. (shrink)

This paper advances a social organization approach to examining unethical behavior. While unethical behaviors may stem in part from failures in individual morality or psychological blind spots, they are both generated and performed through social interactions among individuals and groups. To illustrate the value of a social organization approach, a case study of a medical school professor's first experience with pharmaceutical-company-sponsored research is provided in order to examine how funding arrangements can constrain research integrity. The case illustrates three significant ways (...) that institutional corruption can occur in the research process. First, conflicts of norms between pharmaceutical companies, universities, and affiliated teaching hospitals can result in compromises and self-censorship. Second, normal behavior is shaped through routine interactions. Unethical behaviors can be (or can become) normal behaviors when they are produced and reproduced through a network of social interactions. Third, funding arrangements can create networks of dependency that structurally distort the independence of the academic researcher in favor of the funder's interests. More broadly, the case study demonstrates how the social organization approach deepens our understanding of the practice of ethics. (shrink)

Discussion on the Cotard delusion often focuses on the patient’s delusional belief that he/she is dead. Of interest to this paper, however, is the little referred to claim made by some Cotard patients that they are immortal. How might one explain the juxta-position of death and immortality evident in patients sharing the same clinical diagnosis, and how might these delusional beliefs inform our understanding of patient phenomenology, particularly regarding experiences of existential change? This paper sets out to explain delusions of (...) death and immortality in Cotard patients with reference to changes in their experience of being, owed in part to a conflict in recognition evident in other delusional disorders such as the Capgras and Frégoli delusions. This experiential change is positioned within an interactionist framework of bottom-up and top-down processing that is also compatible with explanationist and endorsement approaches to delusions. (shrink)

A nonexistent possible is a particular concrete object which exists in some possible world but doesn't exist in the actual world. A definite description may be said to individuate a nonexistent possible if just one possible object satisfies the condition specified by that description, and this possible object doesn't exist in the actual world. Given a plausible form of mereological essentialism, certain mereological and causal descriptions which determine a thing's composition individuate nonexistent possible hunks of matter which are mereological or (...) causal products of actual objects. Other sorts of descriptions such as 'the possible fat man in that doorway' and ones associated with typical fictional, imaginary, and mythical things do not individuate a nonexistent possible, and it is problematical whether we can individuate a nonexistent possible which is disjoint, viz., one which is not a mereological or causal product of actual objects. (shrink)

A nonexistent possible is a particular concrete object which exists in some possible world but doesn't exist in the actual world. A definite description may be said to individuate a nonexistent possible if just one possible object satisfies the condition specified by that description, and this possible object doesn't exist in the actual world. Given a plausible form of mereological essentialism, certain mereological and causal descriptions which determine a thing's composition individuate nonexistent possible hunks of matter which are mereological or (...) causal products of actual objects. Other sorts of descriptions such as 'the possible fat man in that doorway' and ones associated with typical fictional, imaginary, and mythical things do not individuate a nonexistent possible, and it is problematical whether we can individuate a nonexistent possible which is disjoint, viz., one which is not a mereological or causal product of actual objects. (shrink)

This article undertakes a comparison between Wittgenstein's philosophy of the early and late periods with the musical theories of Wittgenstein's contemporary, Heinrich Schenker, an influential Viennese theorist of tonality, as well as those of their contemporary Arnold Schoenberg. Schenker's reductive analytical procedure was designed to unveil fundamental and uniform ways in which all works of music function, unfolding a deep structure constituting their essence. Schoenberg deplored this line of thought, and for reasons strikingly parallel to those that led Wittgenstein back (...) to what he called the ‘rough ground’ in his Philosophical Investigations. Ultimately, for Wittgenstein, the abstracted picture of the musical work as a platonic entity is nourished by grammatical conflations as well as by the Platonic and Cartesian legacies. (shrink)

This chapter contains sections titled: Attentiveness Awareness of the Circumstances of Action Acknowledging the Autonomy of Others Respecting Complexity Memory Respecting Individuality Rethinking the Past The Habit of Resourcefulness Kantian Mutual Respect Genuineness and Insight Sensitivity to the Context of Discourse Excessive Attentiveness The Diversity of Intentional Action.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 188-198 [Access article in PDF] Symposium: On Ken Burns's "Jazz" On Representing Jazz: An Art Form in Need of Understanding Garry L. Hagberg ALTHOUGH IT WENT ON in smaller numbers in earlier decades, the fact that there were legions of expatriate jazz musicians fleeing to a far more appreciative Europe in the 1960s and 1970s shows how important a cultural event Ken Burns's documentary (...) on the first century of jazz really is. Those expatriate players were all but forced out by a rapidly diminishing audience and a corresponding lack of appreciation for their artistic achievements and abilities. It is in any social context an achievement to gain an audience for an undervalued artform of between three and four million viewers for nineteen hours; to have done so against the backdrop of the fact—one bitter to swallow for so many American players of those years—that the country of origin for this artform was so slow to significantly value it, makes this documentary almost a form of cultural emergency-relief. But it also raises the stakes in how jazz is represented, which of its features are focused upon, and what kind of story is told about its development. In my opinion the film makes deeply serious errors in each of these ways—almost to the point of turning this seemingly magnificent gift to jazz into a Trojan horse—but here I'd like to focus on five of the features of jazz as an art that I think make jazz particularly difficult to portray in a reduced or simplified form. To put the point a bit more strongly: without an awareness of (at the least) these five features of jazz, any attempted portrayal would run the very serious danger of engendering or further nurturing the very incomprehension of the artistic or aesthetic achievements of jazz that drove all those American players to Copenhagen, Paris, London, Munich, Vienna, and Amsterdam in the first place. It is, in short, necessary to provide at least a sense of what is [End Page 188] intrinsically problematic about the artform to illuminate both its distinctive nature and the aesthetic problems—taken by its practitioners as its internally generated artistic challenges—that give this artform its dynamic energy.First, there is the fundamental question concerning the metaphysics of a jazz piece, i.e., what kind of thing it is. At a glance one can see that a familiar attempt to answer this question within the larger field of the aesthetics of music, i.e., the identification of the work with the score, will have precious little plausibility when applied to jazz. As any jazz musician or aficionado knows, jazz pieces that become "standards" are pieces that are performed countless times, in innumerably variegated ways, and what is usually of greatest interest about any given performance of a standard is not, indeed, how well or to what extent it instantiates a predetermined ideal of the piece as specified in the score, but rather how it departs from, or adds distinctive interpretive content, to the basic structure of the piece. This aesthetically significant fact is reflected in the correlated common practice of using, not scores, but rather schematic "lead sheets" that provide the very basic harmonic and melodic material of the piece. Even larger-ensemble pieces, e.g., the scores of Duke Ellington, are notated only in the sectional writing; the improvisational sections—the sections that many would say give the distinctive life to any given performance—are of course not notated. There are fully notated scores of many—to use a dangerously complicated word—classic jazz performances, but in jazz parlance these, here again with aesthetic significance, are not called scores, but rather transcriptions, and in this improvisational artform it would be cause for suspicion rather than congratulation if a player were to perform a given work exactly in accordance with the transcription repeatedly. The nature of the jazz piece, the jazz composition, is thus extraordinarily fluid and only minimally defined. And as one might expect, the degree or the extent... (shrink)