Benatar’s central argument for antinatalism develops an asymmetry between the pain and pleasure in a potential life. I am going to present an alternative route to the antinatalist conclusion. I argue that duties require victims and that as a result there is no duty to create the pleasures contained within a prospective life but a duty not to create any of its sufferings. My argument can supplement Benatar’s, but it also enjoys some advantages: it achieves a better fit with our (...) intuitions; it does not require us to acknowledge that life is a harm, or that a world devoid of life is a good thing; and it is easy to see why it does not have any pro-mortalist implications. (shrink)

Newton, along with a number of other seventeenth-century scientists, is frequently charged with having held an inconsistent view of nature and its operations, believing on the one hand in immutable laws of nature, and on the other in divine interventions into the natural order. In this paper I argue that Newton, William Whiston, and Samuel Clarke, came to understand miracles, not as violations of laws of nature, but rather as beneficent coincidences which were remarkable either because they were unusual, or (...) were beyond current understandings of nature. In this manner the Newtonians managed to reconcile their scientific pursuits with their religious convictions. (shrink)

Explores the historical relations between science and religion and discusses contemporary issues with perspectives from cosmology, evolutionary biology and bioethics.

This paper suggests that Bacon offers an Augustinian (rather than a purely Stoic) model of the “culture of the mind.” He applies this conception to natural philosophy in an original way, and his novel application is informed by two related theological concerns. First, the Fall narrative provides a connection between the cultivation of the mind and the cultivation of the earth, both of which are seen as restorative of an original condition. Second, the fruit of the cultivation of the mind (...) is the virtue of charity, which is understood not only as curing the mind of the individual, but as contributing to human welfare and ameliorating some of the material losses that resulted from the Fall. (shrink)

Eastern Philosophy: The Basics is an essential introduction to major Indian and Chinese philosophies, both past and present. Exploring familiar metaphysical and ethical questions from the perspectives of different Eastern philosophies, including Confucianism, Daoism, and strands of Buddhism and Hinduism, this book covers key figures, issues, methods and concepts. Questions discussed include: What is the ‘self’? Is human nature inherently good or bad? How is the mind related to the world? How can you live an authentic life? What is the (...) fundamental nature of reality? Throughout the book the relationships between Eastern Philosophy, Western Philosophy and the questions reflective people ask within the contemporary world are brought to the fore. With timelines highlighting key figures and their contributions, a list of useful websites and further reading suggestions for each topic, this engaging overview of fundamental ideas in Eastern Philosophy is valuable reading for all students of philosophy and religion, especially those seeking to understand Eastern perspectives. (shrink)

These rhetorical texts by Apuleius, second-century Latin writer and author of the famous novel Metamorphoses or Golden Ass, have not been translated into English since 1909. They are some of the very few Latin speeches surviving from their century, and constitute important evidence for Latin and Roman North African social and intellectual culture in the second century AD, a period where there is increasing interest amongst classicists and ancient historians. They are the work of a talented writer who is being (...) increasingly viewed as the major literary artist of his time in Latin. (shrink)

This volume is concerned with the concept of rationality and the interrelations between rationality, belief and desire in the explanation and evaluation of ...

In lieu of an abstract, here is a brief excerpt of the content:The Virtues of Animals in Seventeenth-Century ThoughtPeter HarrisonDiscussions about animals—their purpose, their minds or souls, their interior operations, our duties towards them—have always played a role in human self-understanding. At no time, however, except perhaps our own, have such concerns sparked the magnitude of debate which took place during the course of the seventeenth century. The agenda had been set in the late 1500s by Montaigne, who had made (...) the remarkable (if somewhat rhetorical) claim that animals were both moral and rational, and moreover, more moral and rational than humans. In the century which followed, Descartes, not to be outdone, put forward the even more contentious counter-proposal that animals were not only neither rational nor moral, but that they were not even conscious. The Cartesian hypothesis fueled a debate which continued until well into the eighteenth century. 1 While in recent years much attention has been given to issues of animal consciousness and cognition in seventeenth-century thought, the related question of the moral capabilities of animals has been by comparison neglected. In this paper I shall explore the converse side of the better known arguments about the rational capabilities of the beasts, focusing on seventeenth-century discussions concerning the behaviors and passions of the beasts and the extent to which animals were thought to participate in the moral universe of human beings.I. During the first sixteen hundred years of the common era, those thinkers who directed their attention to the natural world had tended to be preoccupied neither with questions of how animals came into being nor with the direct [End Page 463] causes of their various operations but rather with the question of why they existed at all. Almost without exception responses to this question were variations on a single theme: animals had been placed in the world to provide for the physical needs of human beings. 2 While this response proved to be satisfactory in general terms, there were acknowledged deficiencies. Many living things seemed to have been rather extravagantly designed for their putative purpose. Others seemed blatantly to contradict it. Why were our meat supplies, for example, not more conveniently presented, like the fabled Scythian lamb which grew on a tree? Why was it that a significant number of creatures appeared to be useless or even downright harmful to those whom they were designed to serve? And why, finally, were human beings created such that they were dependent upon lesser creatures for their survival?Responses to these difficulties generally took one of three forms, each of which was influential throughout the Middle Ages and beyond. First, it could be asserted that as a result of the Fall, human beings had forfeited their dominion over the creatures, many of which now served as instruments for their punishment and correction. Augustine observed that “there are many things, such as fire, frost, wild beasts and so forth, which do not suit but injure this thin-blooded and frail mortality of our flesh, which is at present under just punishment.” 3 In the seventeenth century this view still attracted many supporters. Thus Godfrey Goodman, in The Fall of Man (1616), wrote that “all the creatures, forsaking their first and naturall use, did serve for mans punishment, and rebelled against him.” 4Second, an appeal could be made to the Platonic principle of plenitude and the related idea of the chain of being. The principle of plenitude taught that more is better and that variety is preferable to uniformity. God, wrote the third-century Christian apologist Lactantius, “wished to display His providence and power by a wonderful variety of many things.” 5 It followed that all existing things could be ranged in a vast scale from non-existence to God himself, with each link in the chain separated from its neighbor by a small difference. Again, this view found many adherents in the early modern period. Thomas Robinson declared that “it was necessary that there shou’d be a variety of Natures, and [End Page 464] different Degrees of Life and Perfection.” Thus “every Creature even of the lowest Degree of Life, is Good and Perfect in its Kind.” 6 Important for our... (shrink)

Reaction-diffusion systems which have reaction term satisfying f(-q) = -f(q) tend strongly to form striped patterns. Haken’s slaving principle is used to derive differential equations for unstable mode amplitudes close to the Turing instability. This connects a dynamical symmetry to pattern selection, with possible relevance to biological and chemical pattern-forming phenomena.

Ross Harrison; IV*—Discounting the Future, Proceedings of the Aristotelian Society, Volume 82, Issue 1, 1 June 1982, Pages 45–58, https://doi.org/10.1093/aristo.

Jonathan Harrison; III*—The Embodiment of Mind or What Use is Having a Body?, Proceedings of the Aristotelian Society, Volume 74, Issue 1, 1 June 1974, Pages 35.

Jonathan Harrison; IX—The Third Dimension, Proceedings of the Aristotelian Society, Volume 61, Issue 1, 1 June 1961, Pages 151–168, https://doi.org/10.1093/aris.

Bernard Harrison; XIII—Meaning and Mental Images, Proceedings of the Aristotelian Society, Volume 63, Issue 1, 1 June 1963, Pages 237–250, https://doi.org/10.10.

How old are you? The more thought you bring to bear on the question, the harder it is to answer. For we age simultaneously in different ways: biologically, psychologically, socially. And we age within the larger framework of a culture, in the midst of a history that predates us and will outlast us. Looked at through that lens, many aspects of late modernity would suggest that we are older than ever, but Robert Pogue Harrison argues that we are also (...) getting startlingly younger—in looks, mentality, and behavior. We live, he says, in an age of juvenescence. Like all of Robert Pogue Harrison's books, _Juvenescence_ ranges brilliantly across cultures and history, tracing the ways that the spirits of youth and age have inflected each other from antiquity to the present. Drawing on the scientific concept of neotony, or the retention of juvenile characteristics through adulthood, and extending it into the cultural realm, Harrison argues that youth is essential for culture’s innovative drive and flashes of genius. At the same time, however, youth—which Harrison sees as more protracted than ever—is a luxury that requires the stability and wisdom of our elders and the institutions. “While genius liberates the novelties of the future,” Harrison writes, “wisdom inherits the legacies of the past, renewing them in the process of handing them down.” A heady, deeply learned excursion, rich with ideas and insights, _Juvenescence_ could only have been written by Robert Pogue Harrison. No reader who has wondered at our culture's obsession with youth should miss it. (shrink)

In Latin Hexameter Verse, his 1903 manual for composers of Latin hexameters which is still useful as a guide to Vergil's metrical and prosodic practices, S. E. Winbolt states that a hexameter ‘must not end with an adjective preceded by a noun with a similar short ending, e.g.…flumina nota’ unless the adjective is emphatic, ‘i.e. strongly distinctive, predicative or antithetical’. Whether or not his distinction between emphatic and non-emphatic adjectives in this position is wholly workable , Winbolt here rightly detects (...) a strong tendency in Vergil and other Latin poets towards avoiding endings of this general kind, which we can conveniently call the ‘Discordia taetra’ type after one of its earliest and best-known instances in the Annales of Ennius . The rarity of this type of line-ending is clear in Vergil; there are only 16 examples, regardless of whether the adjective is emphatic or not, in the 9890 lines of the Aeneid. Such a select and easily-defined phenomenon might prove a yardstick of some interest in the history of the Latin hexameter, for it seems to raise a number of questions to which the answers would be significant and useful. Is this type of ending avoided equally by all poets? Is there an increasing tendency to avoid it as time goes on? Is it associated with any particular genres of hexameter poetry? Do poets tend to use in it the same words or phrases as their predecessors? To discover the answers, this article will look at the ‘Discordia taetra’ phenomenon in Latin hexameter poetry, defining it as the instance where a noun ending in a short vowel is immediately succeeded by an adjective of similar ending and in agreement at the end of the hexameter, and where such a noun is not a substantivised adjective and such an adjective is neither predicative nor a participle. (shrink)

Hume’s "Of Miracles" concludes with the claim that prophecies, too, are miracles, and as such are susceptible to the same arguments which apply to miracles. However, both Hume and his commentators have overlooked the distinctive features of prophecy. Hume’s chief objection to miracles--that one is never justified in crediting second-hand testimony to miraculous events--does not necessarily apply to the argument from fulfilled prophecies as it was understood in the eighteenth century. Neither was prophecy necessarily thought to entail any breach of (...) the laws of nature. Consideration of Hume’s argument in its historical context shows that it fails to counter the argument from prophecies and was known to have failed. (shrink)

Cases involving certain kinds of manipulation seem to challenge compatibilism about responsibility-grounding free will. To deal with such cases many compatibilists give what has become known as a ‘soft line’ reply. In this paper I present a challenge to the soft line reply. I argue that any relevant case involving manipulation—and to which a compatibilist might wish to give a soft line reply—can be transformed into one supporting a degree of moral responsibility through the addition of libertarian elements (such as (...) alternative possibilities of a kind unavailable under determinism and executive control of the sort commonly associated with agent-causation). From a compatibilist’s perspective the subtraction of libertarian elements should make no difference to any assessment of the agent’s responsibility. The compatibilist should therefore judge the agent morally responsible after the removal of the libertarian elements. Yet removal of the libertarian elements returns the case to its original form and thus what started out as a soft line has now collapsed into a hard line reply. Various ways of resisting my argument are considered, but each is shown to carry important burdens. (shrink)

Lucas van Valckenborch’s Winter Landscape hangs in the Kinsthistorisches Museum in Vienna. It was painted four hundred years ago as one of a set of the four seasons. Measured by sales of reproductions, it is one of the most popular paintings in the museum, though it is by no means the most distinguished example of the genre to which it belongs. The picture is a snow scene. In the long series of represented planed that recede from foreground to horizon, fallen (...) snow covers fields and roves. Across the surface of the canvas and scarcely diminishing in scale from bottom to top, touches of white paint represent falling snow. It is not a small painting, and these are not mere feathery indications, but palpable dabs from a loaded brush. To a taste fed on Modernist painting—or, for the pedantic, to a prejudice fuelled by Modernist accounts of painting—it is by virtue of this surprising frankness that the painting achieves more than mere anecdotal charm. It is not the illusion of depth in the picture that holds our sophisticated attention, nor the atmospheric re-creation of a leaden sky, nor do we admit to being engaged by the over-rehearsed animation of the peasants. What gives us pleasurable pause is the strange and distinctive form of skepticism about appearances that is set in play when the allure of imaginative depth meets resistance from the vividness of decorated surface.5 5. Wollheim uses the term ‘twofoldness’ for ‘this strange duality—of seeing the marked surface, and of seeing something in the surface.’ In his account this experience leads to a thematizing of the image, which ‘ushers in representation.’ Translated into his terminology, my suggestion would be that the Winter Landscape can be seen as catering to a Modernistic taste for the thematizing of ‘twofoldness’ itself. Charles Harrison is staff tutor and reader in the history of art at the Open University. He is the author of English Art and Modernism 1900-1939 , and he is now completing a second volume, English Art and Modernism 1940-1985. He is co-author of A Provisional History of Art & Language , and his most recent book—Essays on Art and Language—is due out in 1989. He has been associated with the Art & Language group since 1971 and is editor of the journal Art-Language. (shrink)

During the latter half of the thirteenth century there arose around Tuscany a strange and unprecedented poetry, erudite, abstract, and arrogantly intellectual. It sang beyond courtly conventions about the wonders of the rational universe whose complex secrets the new speculative sciences were eagerly systematizing. Appropriating the language of natural philosophy, Aristotelian psychology, and even theology, love poetry developed a new theoretical understanding of its enterprise which allowed it to redefine love as spiritualized search for knowledge. This intellectualization of erotic desire (...) culminates in the Florentine sitlnovisti, a handful of learned poets who turned love poetry into an eclectic philosophical affair. Guido Cavalcanti’s famous canzone “Donna me prega” was universally considered to be not only the technically most perfect canzone ever written but also a rigorous philosophical treatise. As much as in our own day, exegeses of the poem were forced into the arcana of Scholastic Aristotelianism in order to make sense of its abstract, psychologistic definition of love’s essence. While Cavalcanti lyricized an Averroistic logic of the unified intellect, his younger friend Dante was preparing to put all of medieval philosophy, theology, and science into terza rima. It was in this terza rima that medieval Paris found perhaps its most felicitous expression, for the Divine Comedy represents, among other things, a creative transfiguration of the critical discourses Paris was diffusing throughout Europe.What recalls that situation today is the way Paris again marks the center of critical thought, while in Italiy a new generation of poets has emerged that translates the lessons of contemporary philosophy into poetry. In this essay I plan to discuss some of the most radical or, by analogy, “stilnovistic” of these lyricists. For purposes of convenience I will refer to them as the “favorite malice” poets. The phrase comes from the title of an anthology of select contemporary Italian poetry, recently published in a bilingual English edition: The Favorite Malice: Ontology and Reference in Contemporary Italian Poetry.2 The title alludes to a passage of Friedrich Nietzsche: “It is my favorite malice and art that my silence has learned not to betray itself through silence.” These words from Thus Spoke Zarathrustra serves as the anthology’s epigraphs and signal the peculiar poetics that brings the poets together in one volume. They are not brought together as a “school” but as a loose convergence of individual practices. The most illustrious name among the group is that of Andrea Zanzotto , who belongs to an older generation but whom the other poets call their “youngest traveling companion.” The “older” companions include Nanni Cagnone, Luigi Ballerini, Raffaele Perrotta, and Angelo Lumelli. Robert P. Harrison is assistant professor of Italian at Stanford University. He has published a book of poems, The Murano Workshop , and articles on Dante, Kierkegaard, Nietzsche, and liberal philology. The Body of Beatrice is the title of his work in progress. (shrink)

Epode 10: the Mystery of Mevius' Crime Horace's tenth Epode, an inverse propempticon, calls down dire curses on the head of a man named Mevius as he leaves on a sea-voyage.1 Scholars have naturally been interested in what Mevius had done to merit such treatment, but answers have been difficult to find, for nothing explicit is said on this topic in the poem; as Leo noted, ‘[Horatius] ne verbo quidem tarn gravis odii causam indicat’. This is in direct contrast with (...) the Strasbourg epode usually attributed to Hipponax , which served as Horace's model in this poem; there it is clear that the similar curses on a departing sailor are caused by his breaking of oaths to the poet and betrayal of their previous friendship . One might expect Horace to give some kind of indirect suggestion of the nature of Mevius’ offence, but even this is despaired of by Fraenkel: ‘There is no hint at the sort of crime which Mevius is said to have committed, nor is anything said about the man himself; he remains an entirely shadowy figure’. The best that scholars have been able to do is to follow the ancient commentary of Porphyrio in suggesting that Horace's Mevius is to be identified with the poetaster attacked by Vergil in Ecl. 3.90 ‘qui Bavium non odit, amet tua carmina, Mevi’. Though it is pleasant to think of Vergil and Horace, perhaps by now friends in the circle of Maecenas, ganging up on a luckless hack, there is, as Fraenkel points out, no mention in the tenth Epode that Mevius is a poet, and his literary incompetence, assuming he is Vergil's poet, does not seem to underlie or indeed warrant the bitter imprecations of the poem: Catullus might wish a dire fate on the works of a bad poet , but to long for their author's shipwreck and consumption by gulls might indeed seem excessive. (shrink)

The Positive Evolution of Religion CHAPTEB I ORTHODOX CRITICISM IT may surprise not a few, but it is certainly true that on general principles, in spirit, ...

CONTENTS: Introduction On the Supposed Necessity of Certain Metaphysical Problems The Subjective Synthesis Synthesis The Three Great Syntheses The Human ...

at ego tibi sermone isto Milesio varias fabulas conseram auresque tuas benivolas lepido susurro permulceam, modo si papyrum Aegyptiam argutia Nilotici calami inscriptam non spreveris inspicere. figuras fortunasque hominum in alias imagines conversas et in se rursum mutuo nexu refectas, ut mireris, exordior. ‘quis ille?’ paucis accipe. Hymettos Attica et Isthmos Ephyrea et Taenaros Spartiatica, glebae felices aeternum libris felicioribus conditae, mea vetus prosapia est; ibi linguam Atthidem primis pueritiae stipendiis merui, mox in urbe Latia advena studiorum Quiritium indigenam sermonem (...) aerumnabili labore nullo magistro praeeunte aggressus excolui. en ecce praefamur veniam, si quid exotici ac forensis sermonis rudis locutor offendero. iam haec equidem ipsa vocis immutatio desultoriae scientiae stilo quern accessimus respondet. fabulam Graecanicam incipimus. lector intende: laetaberis. (shrink)

I shall define a free action as one a man is able to do. Various things limit a man's freedom. The most unpopular is the government, or other people who have the power of preventing us from doing what we want. But our freedom is also circumscribed by lack of physical and mental strength or skill, including that of knowing how to manage other human beings. Other factors limiting our freedom are our ignorance, our passions and our habits. Some men (...) say they value their freedom from these things, especially their freedom from passion, so much that they would prefer to be in prison or on the rack rather than be a slave to them, but one suspects they exaggerate. (shrink)

Explores the theories of the development of shape and size in living organisms and offers an exposition of the kinetic theory of shape.