Leplin attempts to reinstate the common sense idea that theoretical knowledge is achievable, indeed that its achievement is part of the means to progress in empirical knowledge. He sketches the genesis of the skeptical position, then introduces his argument for Minimalist Scientific Realism -- the requirement that novel predicitons be explained, and the claim that only realism about scientific theories can explain the importance of novel prediction.

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

Transition to man -- Transition from man -- And beyond.

I introduce and explicate a new functionalist account of art, namely that something is an artwork iff the fulfillment of its function by a subject requires that the subject aesthetically engage it. This is the Aesthetic Engagement Theory of art. I show how the Aesthetic Engagement Theory outperforms salient rival theories in terms of extensional adequacy, non-arbitrariness, and ability to account for the distinctive value of art. I also give an account of what it is to aesthetically engage a work (...) that relies on our agential capacity to treat an object as having non-instrumental value, even while the ultimate purpose for our engaging the object is to get something from it. (shrink)

Landini discusses the second edition of Principia Mathematica, to show Russella (TM)s intellectual relationship with Wittgenstein and Ramsey.

In Complicity and Moral Accountability, Gregory Mellema presents a philosophical approach to the moral issues involved in complicity. Starting with a taxonomy of Thomas Aquinas, according to whom there are nine ways for one to become complicit in the wrongdoing of another, Mellema analyzes each kind of complicity and examines the moral status of someone complicit in each of these ways. Mellema's central argument is that one must perform a contributing action to qualify as an accomplice, and that it (...) is always morally blameworthy to perform such an action. Additionally, he argues that an accomplice frequently bears moral responsibility for the outcome of the other's wrongdoing, but he distinguishes this case from cases in which the accomplice is tainted by the wrongdoing of the principal actor. He further distinguishes between enabling, facilitating, and condoning harm, and introduces the concept of indirect complicity. Mellema tackles issues that are clearly important to any case of collective and shared responsibility, yet rarely discussed in depth, always presenting his arguments clearly, concisely, and engagingly. His account of the nonmoral as well as moral qualities of complicity in wrongdoing--especially of the many and varied ways in which principles and accomplices can interact--is highly illuminating. Liberally sprinkled with helpful and nuanced examples, Complicity and Moral Accountability vividly illustrates the many ways in which one may be complicit in wrongdoing. "In Complicity and Moral Accountability, Gregory Mellema has made an immensely important contribution to the discussion of group morality and collective responsibility both within and far beyond professional academic philosophy. His clearly written book will be essential reading." --Fergus Kerr, Honorary Fellow, University of Edinburgh. (shrink)

This chapter is a work in applied metaphysics. Recent discussions of monism and metaphysical dependence are deployed to develop a view—the doctrine of divine priority (DDP)—that is a viable alternative to the doctrine of divine simplicity (DDS). DDS and the traditional motivation for it are discussed, then DDP is introduced by way of an analogy involving Jonathan Schaffer’s distinction between two forms of monism. It is argued that DDP is an alternative to DDS by showing that it is consistent with (...) the traditional motivation for the latter view, and argued that DDP is a viable alternative by showing that objections to its peculiar implications rest on assumptions that can reasonably be rejected. In the concluding section, the findings of the main discussion are summarized and DDP’s potential theological import is illustrated with a brief discussion of a possible solution to the Problem of the Trinity it affords. (shrink)

Putnam discusses each of the fifteen odes found in the book, studying the work both as a whole and as a series of interactive units.

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

There are a number of recent discussions on the question of when an artwork is complete. While it has been observed that a work might be complete in one way and not in another, the impact of this observation has been minimal. Discussion has been continued as if there is only one real sense of completion that matters. I argue that this is a mistake. Even if there were only one (or one most important) kind of completion, extant theories of (...) completion would be bad candidates for that one kind. The best explanation of the failure of extant theories is that there are many kinds of completion, many corresponding senses of “completion,” and no kind of artwork completion is objectively more important than any other. We have a good reason to think that this is the case given the disparate interests we have when we ask completion questions. Once we have realized that those concerns track properties that are often unrelated, the question for theorists to answer becomes, “In how many ways can an artwork be complete?”. (shrink)

The Oxford Companion to the Mind is a classic. Published in 1987, to huge acclaim, it immediately took its place as the indispensable guide to the mysteries - and idiosyncracies - of the human mind. In no other book can the reader find discussions of concepts such as language, memory, and intelligence, side by side with witty definitions of common human experiences such as the 'cocktail-party' and 'halo' effects, and the least effort principle. Richard Gregory again brings his wit, (...) wisdom, and expertise to bear on this most elusive of subjects. Research into the mind and brain has moved on in bounds in recent years, and interest in the subject has never been so high. There has been a shift in focus away from Freud's concept of the unconscious onto consciousness itself. The new edition of the Companion includes three 'mini symposia' - on consciousness, brain scanning, and artificial intelligence - with contributions from a number of specialists, and encompassing a range of approaches. Cultural as well as scientific in approach, this accessible book offers authoritative descriptions and analysis. With new entries on controversial topics such as artificial life, attachment theory, caffeine, cruetly, drama, extra-terrestrial intelligence, genetics of mental illness, imagination, lying, puzzles, and twins, this highly-anticipated second edition explores the most intriguing of subjects. (shrink)

This book proposes an original theory of epistemic justification that offers a new way to relate justification to the epistemic goal of truth-conducive belief.

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

We often ascribe possibility to the scenes that are displayed by mental or nonmental sensory images. The paper presents a novel argument for thinking that we are prima facie justified in ascribing metaphysical possibility to what is displayed by suitable visual images, and it argues that many of our imagery‐based ascriptions of metaphysical possibility are therefore prima facie justified. Some potential objections to the arguments are discussed, and some potential extensions of them, to cover nonvisual forms of imagery and nonmetaphysical (...) forms of possibility, are endorsed. (shrink)

Studie over het werk van de Duitse wijsgeer Friedrich Ludwig Gottlob Frege (1848-1925).

First published in 1987, Althusser, The Detour of Theory was widely received as the fullest account of its subject to date. Drawing on a wide range of hitherto untranslated material, it examined the political and intellectual contexts of Althusser's `return to Marx' in the mid-1960s and proclamaed of a `crisis of Marxism'. It concluded with a balance-sheet of Althusser's contribution to historical materialism. In this second edition, Gregory Elliott has added a substantial postscript in which he surveys the posthumous (...) edition of the French philosopher's work. (shrink)

A re-issue of Gregory Bateson's classic work. It summarizes Bateson's thinking on the subject of the patterns that connect living beings to each other and to their environment.

Using Sartre is an introduction to the philosophy of Jean-Paul Sartre which promotes Sartrean views but adopts a consistently analytical approach to him. Concentrating on his early philosophy, up to and including Sartre's masterwork Being and Nothingness, Gregory McCulloch demonstrates how much analytical philosophers miss when they neglect Sartre and the continental tradition in philosophy. In the classic spirit of analytical philosophy, Using Sartre is a clear and pithy exposition of Sartre's early work. Written specifically for beginners and non-specialists, (...) the book is sure to spark new interest in Sartre and the existentialists while also making a significant contribution to the analytical philosophy of mind. It indicates how the analytical and continental approaches to philosophy may be brought into closer relation to one another. (shrink)

Introduction Jarrett Leplin Hilary Putnam seems to have inaugurated a new era of interest in realism with his declaration that realism is the ...

This introduction to modern work in analytic philosophy uses the example of the proper name to give a clear explanation of the logical theories of Gottlob Frege, and explain the application of his ideas to ordinary language. McCulloch then shows how meaning is rooted in the philosophy of mind and the question of intentionality, and looks at the ways in which thought can be "about" individual material objects.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1984.

Composed of a substantial introduction, twelve original essays produced for this volume, and a new English translation of a personal, intriguing, and little ...

Visualizings, the simplest imaginings which employ visual imagery, have certain characteristic features; they are perspectival, for instance. Also, it seems that some but not all of our visualizings are imaginings of seeings. But it has been forcefully argued, for example by M.G.F. Martin and Christopher Peacocke, that all visualizings are imaginings of visual sensations. I block these arguments by providing an account of visualizings which allows for their perspectival nature and other features they typically have, but which also explains how (...) we can visualize things without thereby imagining visual sensations. (shrink)

I argue there are two ways predication relations can hold according to the Categories: they can hold directly or they can hold mediately. The distinction between direct and mediated predication is a distinction between whether or not a given prediction fact holds in virtue of another predication fact’s holding. We can tell Aristotle endorses this distinction from multiple places in the text where he licenses an inference from one predication fact’s holding to another predication fact’s holding. The best explanation for (...) each such inference is that he takes some predication facts to be mediated by others. Once the distinction between direct and mediated predication has been explained and argued for, I show how it can help solve a persistent problem for the traditional view of non-substantial particulars in the Categories—that is, the view that non-substantial particulars are particular in the sense of being non-recurrent. Along with vindicating the traditional view, the direct/mediated predication distinction gives us a distinctive way of understanding what it is for something to be recurrent (or non-recurrent) as well as a better understanding of Aristotle’s broader commitments in the Categories as a whole. (shrink)

Why do we tend to ascribe possibility to what we can imagine? One strategy for answering that question involves the thought that, just as sensory episodes often involve its seeming to us as though the world is certain ways, so imaginings involve its seeming to us that what we have imagined is possible. This chapter argues that while some imaginings do feature appearances of possibility, very many others do not; and it explores the broader relevance of its conclusions for modal (...) epistemology. (shrink)

Contrary to what has been alleged, the moral equivalence of combatants (MEC) is not a doctrine that was expressly developed by the traditional theorists of just war. Working from the axiom that just cause is unilateral, they did not embrace a conception of public war that included MEC. Indeed, MEC was introduced in the early fifteenth century as a challenge to the then reigning just war paradigm. It does not follow, however, that the distinction between private and public war had (...) no place in the traditional teaching. Thomas Aquinas and his successors did not analyse just war by extrapolation from the related idea of self-defense. Rather, they likened just war to a legal proceeding that could solely be undertaken by persons possessed of legitimate authority. For this reason, just war was first and foremost public war. Private war was deemed ?war? only in a secondary and reduced sense of the term. It was accordingly understood that public war should be waged and its morality judged by reference to a set of norms that are not directly reducible to those governing private self (and other)-defense. (shrink)

After a period of relative exhaustion, French phenomenology has experienced a powerful revival in the last ten years, with the emer-gence of a “cosmological” paradigm in phenomenology. While this situation is obviously to be welcomed, it also presents contemporary phenomenologists with the challenge of acquiring a compass that will enable them to find their bearings in this rapidly reconfiguring philosophical landscape, and according to principles that still partly elude those who are committed to them. In so doing, the aim of (...) this study is twofold: firstly, to put forward a series of hypotheses as to the way in which it is being structured - and thus to elaborate a typology of contemporary French phenomenologies; and secondly, to attempt to determine the stakes and also the presuppositions of this new philosophical “deal” which, perhaps, remains transitory and, as such, rich in a future that, for the time being, it is only possible to presage. (shrink)

Almost traditionally, it seems, accounts of the development of the concepts of work and energy have tended to describe them within the classical framework of Newtonian mechanics. They are seen as the end products of the celebratedvis-vivadispute in the eighteenth century: the outcome of a debate within the confines of the science of rational mechanics. I would like to suggest that this may be to take too narrow a view of the case. It is to project backwards our present specialist (...) arrangement of scientific knowledge, our present divisions between the sciences, and to assume that past development was strictly guided by these divisions. And this is to make questionable historical and sociological assumptions. (shrink)

Now in its twentieth year of publication, this rich collection, popular among teachers and students alike, provides an in-depth look at major cases that have shaped the field of medical ethics. The book presents each famous (or infamous) case using extensive historical and contextual background, and then proceeds to illuminate it by careful discussion of pertinent philosophical theories and legal and ethical issues.

[This is an edited and improved version of "You Are Not Your Brain: Against 'Teaching to the Brain'" previously published in *Review of Higher Education and Self-Learning* 5(15), Summer 2012.] Since educators are always looking for ways to improve their practice, and since empirical science is now accepted in our worldview as the final arbiter of truth, it is no surprise they have been lured toward cognitive neuroscience in hopes that discovering how the brain learns will provide a nutshell explanation (...) for student learning in general. I argue that identifying the person with the brain is scientism (not science), that the brain is not the person, and that it is the person who learns. In fact the brain only responds to the learning of embodied experience within the extra-neural network of intersubjective communications. Learning is a dynamic, cultural activity, not a neural program. Brain-based learning is unnecessary for educators and may be dangerous in that a culturally narrow ontology is taken for granted, thus restricting our creativity and imagination, and narrowing the human community. (shrink)

Vlastos, G. Introduction: the paradox of Socrates.--Lacey, A. R. Our knowledge of Socrates.--Dover, K. J. Socrates in the Clouds.--Robinson, R. Elenchus.--Robinson, R. Elenchus, direct and indirect.--Robinson, R. Socratic definition.--Nakhnikian, G. Elenctic definitions.--Cohen, S. M. Socrates on the definition of piety: Euthyphro 10A-11B.--Santas, G. Socrates at work on virtue and knowledge in Plato's Laches.--Burnyeat, M. F. Virtues in action.--Walsh, J. J. The Socratic denial of Akrasia.--Santas, G. Plato's Protagoras and explanations of weakness.--Woozley, A. D. Socrates on disobeying the law.--Allen, R. E. (...) Plato's earlier theory of forms. (shrink)

I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (shrink)

This essay attempts to reconceptualize temporality as it relates to ethics, by interrupting dominant anthropological notions of time—most particularly the temporal coherence of narrative unity—which are homogeneous and empty. Eschewing the more commonly understood notion of anthropology as ethnographic thick description, this essay is a practice of anthropological hermeneutics by which I take a cue from my Muscovite interlocutors to disrupt dominant anthropological conceptions of temporal unity within which action is considered to take place, and in so doing, reveal temporalization (...) as the process by which ethical action becomes possible. (shrink)