Kant describes the understanding as a faculty of spontaneity. What this means is that our capacity to judge what is true is responsible for its own exercises, which is to say that we issue our judgments for ourselves. To issue our judgments for ourselves is to be self-conscious – i.e., conscious of the grounds upon which we judge. To grasp the spontaneity of the understanding, then, we must grasp the self-consciousness of the understanding. I argue that what Kant requires for (...) explaining spontaneity is a conception of judgment as an intrinsic self-consciousness of the total unity of possible knowledge. This excludes what have been called ‘relative’ accounts of the spontaneity of the understanding, according to which our judgments are issued through a capacity fixed by external conditions. If so, then Kant conceives of understanding as entirely active. Or, to put it another way, he conceives of this capacity as absolutely spontaneous. (shrink)

Kant holds that the whole “higher faculty of knowledge” (‘reason’ or ‘understanding’ in a broad sense), is a spontaneous faculty. But what could this mean? It seems that it could either be a perfectly innocent claim or a very dangerous one. The innocent thought is that reason is spontaneous because it is not wholly passive, not just a slave to what bombards the senses. If so, then the rejection of Hume’s radical empiricism would suffice for Kant’s claim. But the dangerous (...) thought is that reason, and the ‘I think’ which expresses it, is free, having the power to produce something entirely from itself. While this freedom is characteristic of practical reason, could it be characteristic of reason in general, even in its theoretical employment? Some contemporary interpreters have admirably defended the ‘dangerous’ conception by stripping it of the implication that it makes reason in general entirely self-sufficient. I attempt to add to this effort. However, what I contend is that this weightier conception of spontaneity (‘absolute’ or ‘non-relative’ spontaneity) requires abandoning a certain approach to the question that has been assumed by virtually everyone in the debate—namely, that the question can be answered by siding with either the so-called ‘metaphysical’ or the ‘epistemic’ interpreters of Kant. My goal is to suggest that the proper perspective on reason’s spontaneity resists such characterizations all together, and thereby resists any of the conditions under which it could be understood as ‘relative’ to anything. (shrink)

I argue that, for Kant, there is a point at which the notions of self-consciousness and self-limitation become one. I proceed by spelling out a logical progression of forms of self-consciousness in Kant’s philosophy, where at each stage we locate the limits of the capacity in question and ask what it takes to know those limits. After briefly sketching a notion of self-consciousness available even to the animal, we look at whether there could be a notion of self-consciousness available to (...) the capacity of human sensibility. At this stage I argue that Kant and Heidegger (or Heidegger’s Kant) share a conception of what it is to be self-limiting through self-consciousness. I then critically examine this conception, and, specifically, the way in which it fails to account for the most essential form of self-limitation in Kant’s critical philosophy—namely, the form of self-limitation which rejects spatial and temporal articulation. The conclusion we reach is that Kant’s theory of transcendental self-consciousness is a theory of the activity of thinking as determining itself (including its limits) non-spatially and non-temporally. (shrink)

Wood (1970) convincingly argues that Kant’s notion of moral faith is a response to a “dialectical perplexity” or antinomy. Specifically, moral faith is a response to the threat of moral despair. In line with this suggestion, I make the case that moral faith is the resolution of a crisis about how to go on with one’s life in the face of the threat of moral despair. If this is right, then we have a potential solution to two related anxieties: (1) (...) why the matter of our moral faith or despair deserves to be a topic of practical philosophy instead of empirical psychology, and (2) how despair could be a real threat even though Kant holds that rational beings could never truly lack faith. But, to fully see how these concerns can be answered, we must go beyond Wood’s initial analysis. I first argue that Kant’s philosophy suggests two kinds of moral faith: external and internal. I then argue that internal moral faith is analogous to self-contentment (Selbstzufriedenheit) in the second Critique’s practical antinomy. Together, these arguments suggest that moral faith is a response to a real threat of moral despair, and that faith and despair dialectically require one another within practical reason. (shrink)

Sebastian Rödl’s 2018 book articulates and unfolds the thought that judgment’s self-consciousness is identical with its objectivity. This view is laid forth in a Hegelian spirit, against the spirit of Kant’s merely formal or transcendental idealism. I review Rödl’s central theses and then offer a criticism of his reading of Kant. I hold that we can agree with Rödl that self-consciousness is identical with objectivity (though only in a ‘formal’ sense). We can also agree with Rödl that this identity enables (...) us to see the completeness and the incompleteness of judgment as two sides of one coin. And, it is not necessary to reject the formality or ‘emptiness’ of Kant’s ‘I think’ in order to establish these points. Indeed, the virtues of these theses flows directly from such notions in Kant. And, because Rödl need not reject the central features of Kant’s formal idealism, he also need not locate them as the source of the need for a turn to Hegel. (shrink)

This essay presents a critique of what Robert Hanna has recently called the ‘sensibility first’ reading of Kant. I first spell out, in agreement with Hanna, why the contemporary debate among Kant scholars over conceptualism and non-conceptualism must be understood only from within the perspective of what I dub the ‘priority question’—that is, the question whether one or the other of our “two stems” of cognition may ground the objectivity and normativity of the other. I then spell out why the (...) priority question may be asked only from within the perspective of self-consciousness. Specifically, the central issue to be dealt with is how what Kant calls the original combination of understanding and sensibility is a synthesis internal to an act of self-consciousness. Only then can we ask what that original synthesis might tell us about the possibility of prioritizing one capacity over another in a story of cognition generally. Once we see the central issue more clearly, then I will look at the ‘sensibility first’ view in its most general form and propose that it should be criticized for its failure to account for Kant’s notion of an objective unity of self-consciousness. (shrink)

This essay presents a critique of what Robert Hanna has recently called the “sensibility first” reading of Kant. I first spell out, in agreement with Hanna, why the contemporary debate among Kant scholars over conceptualism and non-conceptualism must be understood only from within the perspective of what I dub the “priority question”—that is, the question whether one or the other of our “two stems” of cognition may ground the objectivity and normativity of the other. I then spell out why the (...) priority question may be asked only from within the perspective of self- consciousness. Specifically, the central issue to be dealt with is how what Kant calls the original combination of understanding and sensibility is a synthesis internal to an act of self-consciousness. Only then can we ask what that original synthesis might tell us about the possibility of prioritizing one capacity over another in a story of cognition generally. Once we see the central issue more clearly, then I will look at the “sensibility first” view in its most general form and propose that it should be criticized for its failure to account for Kant’s notion of an objective unity of self-consciousness. (shrink)

Kant holds that the whole “higher faculty of knowledge” (‘reason’ or ‘understanding’ in a broad sense), is a spontaneous faculty. But what could this mean? It seems that it could either be a perfectly innocent claim or a very dangerous one. The innocent thought is that reason is spontaneous because it is not wholly passive, not just a slave to what bombards the senses. If so, then the rejection of Hume’s radical empiricism would suffice for Kant’s claim. But the dangerous (...) thought is that reason, and the ‘I think’ which expresses it, is free, having the power to produce something entirely from itself. While this freedom is characteristic of practical reason, could it be characteristic of reason in general, even in its theoretical employment? Some contemporary interpreters have admirably defended the ‘dangerous’ conception by stripping it of the implication that it makes reason in general entirely self-sufficient. I attempt to add to this effort. However, what I contend is that this weightier conception of spontaneity (‘absolute’ or ‘non-relative’ spontaneity) requires abandoning a certain approach to the question that has been assumed by virtually everyone in the debate—namely, that the question can be answered by siding with either the so-called ‘metaphysical’ or the ‘epistemic’ interpreters of Kant. My goal is to suggest that the proper perspective on reason’s spontaneity resists such characterizations all together, and thereby resists any of the conditions under which it could be understood as ‘relative’ to anything. (shrink)

William of Auvergne and His Treatise De Anima I. Introduction William of Auvergne, Bishop of Paris from until his death in, is of interest to us chiefly ...

We examine collective decision-making in a jury voting game under the unanimity rule when voters have ambiguous beliefs. Unlike in existing studies (Ellis in Theoretical Economics 11:865–895, 2016; Fabrizi et al., in: AUT Economics Working Paper, 2021; Ryan in Theory and Decision 90:543–577, 2021), the locus of ambiguity is the likelihood function (signal precision) rather than the prior. This significantly alters the properties of symmetric equilibria. While prior ambiguity may induce multiple equilibria (Fabrizi et al., in: AUT Economics Working Paper, (...) 2021; Ryan in Theory and Decision 90:543–577, 2021) we show that, under likelihood ambiguity, there exists a unique non-trivial symmetric responsive equilibrium that takes the same form as in the absence of ambiguity (Feddersen and Pesendorfer in The American Political Science Review 92:23–35, 1998). Moreover, likelihood ambiguity partially offsets the pernicious effects of pivotality on decision quality: the frequency of Type I error (convicting the innocent) is typically lower than in the absence of ambiguity. (shrink)

Joseph Addison’s (1672--1719) essays in The Spectator occupy contradictory positions in the history of aesthetics. While they are generally considered central to the institution of aesthetics as a scholarly discipline, their reception has throughout history entailed a strong questioning of their philosophical and scholarly importance. In the following paper, I consider this dual feature as regards reception, and set out to clarify how this has come about. A re-examination of the arguments advanced by Addison makes clear that his (...) role is not that of a philosopher, but that of a public educator. As such he aims to raise the standard of general education of the British ‘middling orders’ in the early eighteenth century, and by using art for didactic purposes he seeks to contribute to the shaping of morally accomplished individuals. (shrink)

After a brief introduction about the problem of leopardian sources, I wish to introduce here a description of the diffusion of Addison’s theories about the Imagination in Italy at the time of Leopardi, trying to highlight their influence on his thinking and his philosophy. The third chapter is dedicated to the analysis of an important excerpt of the Zibaldone where Leopardi quotes Addison and his Catone to introduce an interesting reflection about the pleasure of beauty and the role (...) of imagination, almost as a way to face Addison issues.This excerpt represents an occasion to compare the theories of Addison and Leopardi about Aesthetics and also the similarities and the differences between them. The last part of the paper is dedicated to the results of the analysis and the conclusions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some Sources for Hume's Opening Remarks to Treatise LIVJII Graham Solomon Hume opens Book I, Part IV, Section III of the Treatise with these remarks: Several moralists have recommended it as an excellent method ofbecoming acquainted with our own hearts, and knowing our progress in virtue, to recollect our dreams in a morning, and examine them with the same rigour, that we wou'd our most serious and deliberate actions. (...) Our character is the same throughout, say they, and appears best where artifice, fear, and policy have no place, and men can neither be hypocrites with themselves nor others. The generosity, or baseness of our temper, our meekness or cruelty, our courage or pusilanimity, influence the fictions of the imagination with the most unbounded liberty, and discover themselves in the mostglaring colours. Who were these moralists? One looks in vain in the work of Malebranche, Locke, Shaftesbury and Hutcheson for such a recommendation. Did anyone make that recommendation? One moralist who did was "John Shadow," in a letter to Joseph Addison published in The Spectator, no. 586, 27 August 1714. Addison introduces Shadow's letter with the remark that it "is built upon a thought that is new, and very well carried on; for which Reasons I shall give it to the Publick without Alteration, Addition, or Amendment." I quote at length, for easy comparison with Hume: Sir, It was a good Piece of Advice which Pythagoras gave to his Scholars. That every Night before they slept they should examine what theyhad been a doing that Day, and so discover what Actions were worthy of Pursuit to Morrow, and what little Vices were to be prevented from slipping unawares into a Habit. If I might second the Philosopher's Advice, it should be mine, That in a morning before my Scholar rose, he should consider what he had been about that Night, and with the Volume XVI Number 1 57 GRAHAM SOLOMON same Strictness, as if the Condition, he has believed himself to be in, was real. Such a Scrutiny into the Actions ofhis Fancy must be of considerable Advantage, for this Reason, Because the Circumstances which a Man imagines himself in during Sleep, are generally such as entirely favour his Inclinations good or bad, and give him imaginary Opportunities of pursuingthem to the utmost; so thathis Temper will lye fairly open to his View, while he considers howitis moved when free from those Constraints which the Accidents ofreal Life put it under. Dreams are certainly the Result of our waking Thoughts, and our daily Hopes and Fears are what give the mind such nimble Relishes of Pleasure, and such severe Touches ofPain, in its Midnight Rambles. AMan that murders his Enemy, or deserts his Friend in a Dream, had need to guard his Temper against Revenge and Ingratitude, and take heed that he be not tempted to do a vile thing in Pursuit of false, or the Neglect of true Honour... I think it has been observed in the Course of your Papers, how much one's Happiness or Misery may depend upon the Imagination: ofwhich Truth those strange Workings ofFancy in Sleep are no inconsiderable Instances; so that not only the Advantage a Man has ofmaking Discoveries ofhimself, but a Regard to his own Ease or Disquiet, may induce him to accept ofmy Advice... Shadow has been identified as the poet John Byrom by various of the later editors of The Spectator? Of these, D. F. Bond footnotes Byrom's reference to Pythagoras, noting the publication in English of André Dacier's The Life ofPythagoras, with his Symbolism and Golden Verses; together with the Life ofHierocles, and his Commentaries upon the Verses. Bond notes Hierodes' comments on the following Verses: Never suffer Sleep to close thy Eye-lids, after thy going to Bed, Till thou hast examin'd by thy Reason all thy Actions of the Day Wherein have I done amiss? What have I done? What have I omitted that I ought to have done? If in this Examination, thou find that thou hast done amiss, reprimand thy self severely for it: And if thou has done any Good, rejoice. Dacier cites Porphyry and Marcus Aurelius... (shrink)

Addison and Steele’s legacy on polite manners has been widely acknowledged as a hallmark of the Scottish Enlightenment’s tradition. On the other hand the place of courtly, ‘French’ politeness within the Scottish Enlightenment is much less debated. Conceiving the European Enlightenment as a status quo built on ‘French manners and English liberty’, as Pocock perfectly synthesizes1, points out to the restrictions imposed on religious fanaticism and warfare by the ‘jus gentium’ and European civility. In my paper I aim to (...) shift the attention to the seemingly obvious fact that manners, the backbone of European civility, originate in court, and Versailles was the court par excellence. In this context I explore Adam Smith’s struggle to strip politeness and civility of its aristocratic components. In the heart of the matter lies the strange idea of courtoisie without a court, of propriety that should overcome formal politeness i.e. imitation of aristocratic manners. (shrink)

British writers of the eighteenth century such as Shaftesbury and Hutcheson are widely thought to have used the notion of disinterestedness to distinguish an aesthetic mode of perception from all other kinds. This historical view originates in the work of Jerome Stolnitz. Through a re-examination of the texts cited by Stolnitz, I argue that none of the writers in question possessed the notion of disinterestedness that has been used in later aesthetic theory, but only the ordinary, non-technical concept, and that (...) they did not use this notion to define a specifically aesthetic mode of perception or a specifically aesthetic mode of anything else. The nearest thing that they had to the Stolnitzian conception of “the aesthetic” was their conception of taste, which differs from the former in some essential respects. (shrink)

In this paper I argue that ethics and evidence are intricately intertwined within the clinical practice of differential diagnosis. Too often, when a disease is difficult to diagnose, a physician will dismiss it as being “not real” or “all in the patient’s head.” This is both an ethical and an evidential problem. In the paper my aim is two-fold. First, via the examination of two case studies (late-stage Lyme disease and Addison’s disease), I try to elucidate why this kind (...) of dismissal takes place. Then, I propose a potential solution to the problem. I argue that instead of dismissing a patient’s illness as “not real,” physicians ought to exercise a compassionate suspension of judgment when a diagnosis cannot be immediately made. I argue that suspending judgment has methodological, epistemic, and ethical virtues and therefore should always be preferred to patient dismissal in the clinical setting. (shrink)

In this issue of Studies in Transcendental Philosophy five scholars enquire about the theoretical aspects of Kant’s transcendental philosophy related to the notions of subject, self-consciousness, and self-knowledge. Andrew Brook examines Kant’s views on transcendental apperception at the end of the Critical Period, focusing on Opus Postumum which contains some of Kant’s most important reflections on the subjective dimension. As is known, the self-conscious act designated by the proposition ‘I think’ is an act of spontaneity, and this spontaneity is the (...) reason that the subject calls itself an intelligence. In his article Addison Ellis examines the theoretical and practical dimension of spontaneity, calling into question the distinction between a merely ‘relative’ spontaneity and one that is ‘absolute’. Luca Forgione points to two forms of self-consciousness introduced by Kant: inner sense, based on a sensory form of self-awareness, and transcendental apperception. Through the notion of inner sense, Kant also allows for an introspective account of self-awareness; nonetheless, Kant holds an utterly sophisticated notion of basic self-consciousness provided for by the notion of transcendental apperception. Roberto Horácio de Sá Pereira’s article presents a systematic and a historical approach, linking the contemporary debate on transcendental argument to Kant’s philosophy. It addresses both Stroud’s objection and Strawson’s perspective on transcendental argument and introduces a new reconstruction of Kant’s Refutation as successful truth-directed transcendental argument. In contrast to the contemporary movement of transhumanism and its claims that creatures like us can exist independently of our bodies, Robert Hanna develops a generalist perspective on the subjective dimension, according to which all rational human creature are synthetic a priori necessarily, essentially embodied Kantian selves. I would like to thank the authors for participating in this issue and for helping to make it really special. (shrink)

In this paper I want to discuss David Hume's views about morals, politics and citizenship and the role of philosophers and philosophizing in modern civil society - what I shall call his theory of civic morality. This is a subject which has been neglected by philosophers, presumably because it is of limited philosophical interest. But it is of considerable interest to the historian who wants to understand Hume's development as a philosopher, to locate his thought within a specific, Scottish context (...) and to arrive at some understanding of his surprisingly close and cordial relations with the literary and social world of enlightened Edinburgh. These are large claims and I cannot hope to substantiate them fully in a short paper. My purpose is first, to show that, historically speaking, Hume's preoccupation with civic morality was of central rather than peripheral interest to him as a philosopher and that it helps to explain his otherwise rather puzzling decision to give up philosophizing systematically in the manner of Hobbes and Locke, in favour of polite essay-writing in the manner of Addison and Steele. My second purpose is to suggest that Hume's interest in civic morality, his neo-Addisonian mode of philosophizing about it and the nature of his understanding of politics, citizenship and philosophizing in a modern age was, unlike his thought about religion, responsive to and consonant with some of the most important ideological preoccupations of his Scottish contemporaries. It was, I suspect, a shared interest which helped to contain some of the anxieties Hume's notorious religious scepticism caused his contemporaries. Without it, he could not possibly have emerged as one of the leaders of Edinburgh's intellectual life in the age of the Scottish Enlightenment. (shrink)

In this essay, I look at two negative portrayals of egoism. I summarize in detail the superb All About Eve—which won six Academy Awards, including Best Picture. The movie is about the rise of a ruthlessly ambitious actress, and how she treats her main competitor. Eve Harrington worms her way into top theatrical actress Margo Channing’s inner circle by pretending to be an admirer, but she is really a schemer who wants to eclipse Margo’s star in the theater universe. However, (...) Eve runs into trouble when she attempts to manipulate tart-tongued theater critic, Addison de Witt. The movie portrays the New York theater industry as being full of narcissists. I then review the classic film noir The Third Man (1949), rated by the prestigious British Film Institute as the greatest film of the 20th century. The film centers around a charismatic, handsome criminal mastermind Harry Lime living in bombed-out post-War Vienna. Lime is a man of no conscience or empathy—a true psychopath. He cripples children by selling hospitals adulterated penicillin. But we (the audience) still feel sympathy for him. I end the piece by explaining the psychological mechanisms at work that give rise to our paradoxical sympathy. (shrink)

In this piece, I argue that Hume wrote his Essays to continue writing on political issues after he rather abruptly ended his Treatise, Book 3. Initially he wrote some essays in the vein of Addison and Steele, but he rejected these essays as “frivolous.” In writing on political issues, he became a master essayist and his essays withstood the test of time. “Political” should here be taken in the wider sense as topical issues which readers could immediately recognize as (...) being relevant. (shrink)

There is a special problem with respect to our obligations to future generations which is that we can benefit or harm them but that they cannot benefit or harm us. Goodin summarizes the point well:No analysis of intergenerational justice that is cast even vaguely in terms of reciprocity can hope to succeed. The reason is the one which Addison… puts into the mouth of an Old Fellow of College, who when he was pressed by the Society to come into (...) something that might rebound to the good of their Successors, grew very peevish. ‘We are always doing’ says he, ‘something for Posterity, but I would fain see Posterity do something for us’. (shrink)

This paper presents a systematic study of the prehistory of the traditional subsystems of second-order arithmetic that feature prominently in the reverse mathematics program of Friedman and Simpson. We look in particular at: (i) the long arc from Poincar\'e to Feferman as concerns arithmetic definability and provability, (ii) the interplay between finitism and the formalization of analysis in the lecture notes and publications of Hilbert and Bernays, (iii) the uncertainty as to the constructive status of principles equivalent to Weak K\"onig's (...) Lemma, and (iv) the large-scale intellectual backdrop to arithmetical transfinite recursion in descriptive set theory and its effectivization by Borel, Lusin, Addison, and others. (shrink)

There is a special problem with respect to our obligations to future generations which is that we can benefit or harm them but that they cannot benefit or harm us. Goodin summarizes the point well:No analysis of intergenerational justice that is cast even vaguely in terms of reciprocity can hope to succeed. The reason is the one which Addison… puts into the mouth of an Old Fellow of College, who when he was pressed by the Society to come into (...) something that might rebound to the good of their Successors, grew very peevish. ‘We are always doing’ says he, ‘something for Posterity, but I would fain see Posterity do something for us’. (shrink)

This paper is an extended exploration of Mead's phrase the emergence of the novel. I describe and characterize emergent systems-complex dynamical systems that display behavior that cannot be predicted from a full and complete description of the component units of the system. Emergence has become an influential concept in contemporary cognitive science [A. Clark Being there, Cambridge: MIT Press], complexity theory [W. Bechtel & R.C. Richardson Discovering complexity, Princeton, NJ: Princeton University Press], artificial life [R.A. Brooks & P. Maes Artificial (...) life IV, Cambridge: MIT Press; C.G. Langton Artificial life III, Reading, MA: Addison-Wesley; C.G. Langton et al. Artificial life II, Reading, MA: Addison-Wesley), and robotics [S. Forrest Emergent computation, Cambridge: MIT Press]. I propose that novelty is a necessary property of emergent systems, and I'll explore a specific kind of emergent system: an improvisational theater ensemble. This is an example of emergence in a small social group, which I call collaborative emergence to emphasize several important contrasts with other complex systems that manifest emergence, such as connectionist networks and Alife simulations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:More Evidence that Hume Wrote the Abstract David Fate Norton In the preceding paper, David Raynor has offered several reasons for discounting J. O. Nelson's unfounded claim that Adam Smith was the author ofAn Abstract of..."A Treatise ofHuman Nature." Prior to the discovery ofa copy ofthis work, it may have been plausible to suppose that the Abstract was written by someone other than Hume, but the internal evidence ofthe (...) pamphlet is so strongly in favour of Humean authorship that not even Nelson can bring himself to question this evidence—although he now chooses to ignore it. Given that Nelson's argument rests on the far from compelling assumption that in 1740 there were two and onlytwoMr. Smith's ofwhom Humehadknowledge and whomayhave had an interest in writingor publishing philosophy, it is especially useful to have William Smith, publisher of the Bibliothèque raisonnée, brought again to our attention, and especially since it is obvious that a copy of the Abstract had been sent to that journal prior to the pubUcation ofthe review ofthe Treatise published there in the spring of1740.1 In short, Raynor nicely shows why Keynes and Sraffa were wrong to suppose that Hume, Hutcheson and John Noon were all involved in a conspiracy to undercut Noon's interest by publishing an Irish edition ofthe Treatise2 and why Nelson is wrong to suppose that ifthe "Mr Smith" ofHume's letter is not John Smith of Dublin, then he can only be Adam Smith, and that thelatter musthave written the Abstract. I wish to consider further evidence, some of it circumstantial, relevant to this discussion. This evidence adds probability, I submit, to the conclusion that Hume wrote the Abstract. 1. In the autumn of1737 Hume told Henry Home that he could not give him a "general Notion ofthe Plan" or "Abridgement" ofwhat was to be the Treatise. A careless reading ofthe Abstract might lead one to suppose that this is evidence that Hume did not write this short work. But in fact the Abstract is not an abridgement. It is an effort to make clearer, by carefully tracing "one simple argument... from the beginning to the end," a work thathad been "complained of as obscure and difficult." 3 The available evidence confirms one in the belief that Hume could not abridge the Treatise, but on several occasions he did recast parts ofit in more accessible form. The first such recasting was theAbstract. That this briefworkis not merely an abridgement makes Volume XIX Number 1 217 DAVID FATE NORTON itless likely, I suggest, thatit was written by anyone other than Hume himself.4 2.The Abstract, although said to be "Printed for C. [C]orbet,B at Addison's Head, over-against St. Dunstan's Church, in Fleet-street," wasinfactprintedbyWilUam Strahan, fornone otherthanJohnNoon, the publisher of the Treatise.6 This we know from Strahan's ledgers. These are preservedin the British Library.7Moreover, onApril 19 and 20, 1739, Corbett placed the following advertisement in the London Daily Post and GeneralAdvertiser: Gentlemen, As I have very lately undertaken the Business ofa PubUsher, so will I as faithfully execute it, if at any time you please to employ, Your most Obedient, Humble Servant, Charles Corbett, Who will Inviolably keep secret all Names of Authors, Proprietors, &c. whatever. The fact that Corbett indicates his willingness to undertake clandestine, vanity publishing gives all the explanation one needs of his willingness to become front man for a puffproduced by Hume, and financed, as the Abstract was, by Hume's publisher.8 The fact that it was Noon who arranged for the London printing of the Abstract in no way proves that this work was written by Hume, but it is another bit ofevidence supportive ofthatconclusion,foritindicates thatNoon was in on the effort to publicize the poorly selling volumes ofthe Treatise that he had published.9 3.Robert Connon found a copy of volume three of the Treatise containing extensive manuscript amendments in Hume's hand. As he has also reported, a copy of the Abstract is bound together with this copy ofvolume three, and this copy ofthe Abstract is also amended by Hume. These amendments appear to be those of an author, not... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about the term (...) "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

In a celebrated passage in ‘Of the Standard of Taste’, Hume tells us that those readers who prefer Bunyan's writings to Addison's are merely ‘pretended critics’ whose judgment is ‘absurd and ridiculous’; this is ‘no less an extravagance, than if he had maintained a mole-hill to be as high as TENERIFFE, or a pond as extensive as the ocean’. Hume shows a decisiveness and vehemence in his judgment against Bunyan that has greater significance than that of being a mere (...) reflection of his aesthetic principles. Hume does, after all, wish to make ‘durable admiration’ the foundation of his standard of taste, and both the number of eighteenth-century reprints of The Pilgrim's Progress and Johnson's comment that this work has as ‘the best evidence of its merit, the general and continued approbation of mankind’ testify to the lasting popularity of Bunyan's work. Hume's critical judgment on Bunyan is not merely a consequence of a mechanical application of his standard of taste, but is rather a reflection of what I will term Hume's ‘epistemology of ease’. (shrink)

Available from UMI in association with The British Library. Requires signed TDF. ;Kant's extensive discussion of the sublime has received scant attention. This neglect, indeed, is a general characteristic of the reception of Kant's aesthetics in the Anglo-American, and German traditions of philosophy in the twentieth century. The reasons behind it have been usefully summarised by Paul Guyer. ;My approach will be as follows. In Part One of this study , I shall first outline the sublime as it is understood (...) in sources available to Kant--notably the theories of Addison, and Burke. I will then trace how Kant adapts these approaches in his pre-Critical aesthetics, and how he goes beyond them by, in effect, stipulatively defining the sublime as a moral concept in his Critical ethics. In Part Two I will first set the scene for a consideration of Kant's mature theory of the sublime, by discussing how moral factors shape the overall strategy in The Critique of Judgement, and also figure in his account of the judgement of taste. I shall then go on to elaborate and critically review Kant's structures and sources of argument in those sections of the third Critique that deal with judgements of sublimity. In particular, I will argue that whilst his theory of sublimity does fit in well with the overall strategy of the third Critique, the pressures exerted upon it by the Critical ethics are such that he does not succeed in establishing the credentials of sublimity as an aesthetic concept. In Part Three , however, by using some of Kant's basic insights, I will hope to establish these credentials and to apply the theory so derived, to the work of art. I will then proceed to some more general conclusions. ;Considering the wide ground to be covered by this study, and the necessary limitations on its length, it will not be possible to give Kant's concepts and arguments the kind of extensive and finely detailed analysis which has been provided by Paul Guyer. I will be concerned, rather, to provide working definitions of Kant's major concepts, and to trace the broad development of his arguments. (shrink)

This essay discusses the attempt by seventeenth- and eighteenth-century British writers to achieve a clear definition of "wit." I provide a number of quotations from Hobbes, Locke, Pope, Addison, Dryden, and others to make the point that there was an unresolved tension between wit and judgment, imagination and reason, and rhetoric and philosophy, throughout the period.

In lieu of an abstract, here is a brief excerpt of the content:Context Building and Educating Imaginative EngagementDavid E. W. Fenner (bio)IntroductionIn my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic reward (...) depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context is objective—such as the physical conditions surrounding and history concerning the aesthetic object—the majority of it is subjective, and I want to take another step and say that the majority is psychological.1 Aesthetic attenders bring to aesthetic experiences thick sets of background beliefs, personal associations, taste preferences, attitudes, and values—and this is not to mention the more temporal items like how they feel on the day or whether they are attending alongside friends, relatives, or colleagues. Hundreds of psychological factors result in differences in aesthetic experience; this is most likely true of all experiences, but it is even more the case in aesthetic experience and those kinds of experiences that set the occasions for attenders to think, feel, consider, spend time with, introspect, and be in a relationship—subject and object—that is distinct from the ordinary and the routine.Attenders can employ a single lens or multiple ones. It is entirely possible to attend in the absence of the employment of any lens—a purely disinterested or purely formalist perspective would be such a thing—but the vast majority of aesthetic attenders bring with them layers of lenses through which they naturally, nontheoretically (which is not to say noncognitively) view objects. On different occasions, given particular objects and particular subjects, the subject may view an aesthetic object from an art historical [End Page 109] perspective (whether or not the object is an art object); a moral perspective; a cultural, political, or national perspective; a social, class, race, ethnic, or gender perspective; a religious or spiritual point of view; an emotional point of view; a point of view colored by personal associations, personal history, personal identification, personal preference; and on and on.2 Sometimes the employment of lenses is distracting, and sometimes the experience is less than positive given such employment. But (1) many times—I want to say most times—the employment of such lenses results in a richer and more meaningful experience, and (2) it is the natural stance. Adopting a noncontextualized perspective requires conscious volitional effort. Seeing through particular psychological lenses is the default.I want to focus in this paper on a kind of perspective, a kind of psychological context, that has not been much discussed: I will call it aesthetic engagement preparation. Essentially, this has to do with the level of readiness that the subject possesses for engaging with particular objects aesthetically. To engage in a way that will provide a good return on her investment of attention, the subject must be open to the object, must be comfortable with the objective context, must be ready to enter into a relationship with the object—a relationship that may be psychologically associational in all sorts of ways (affectively, cognitively, and so forth)—and must be ready to employ a range of lenses, like the ones described above, to get the most out of her experience. Again, those who advocate noncontextualized (disinterested or formalist) approaches—Shaftesbury, Hutcheson, Addison, Kant, Schopenhauer, Wilde, Whistler, Wimsatt, Greenberg, Brooks, Wolfflin, Bell, Moore, Bullough, Hanslick, Ortega y Gassett, Fry, Hampshire, Stolnitz, and Zangwill, just to name a few—will find aesthetic engagement preparation not only unnecessary but counterproductive. However, given its efficacy for enhancing actual aesthetic experience, I take this as a sign that these noncontextualists may have been on the wrong path. But of course this is an empirical question, and certainly there are cases—though rare, I claim—where employment of aesthetic lenses results in a less positive experience than otherwise.What I will try to do in this paper is to demonstrate (1) the scope of aesthetic engagement preparation on... (shrink)

A relação entre o sublime e a arte, a princípio, soa natural e certa, mas ao longo do século XVIII algumas teorias afastaram essa categoria da produção artística. Foram décadas notadamente frutíferas nas questões sobre o sublime, período em que não só o sublime recebe seu título de categoria estética como destacadamente participa das questões epistemológicas da recém cunhada disciplina Estética. Nesse cenário, alguns pensadores se voltam exclusivamente para o sublime natural. Esse artigo procurará mostrar o caminho percorrido por esse (...) conceito a partir da recepção pelos ingleses, em 1689, do tratado sobre retórica do século I d.C. intitulado Peri Hypsos, traduzido por Boileu-Despréaux como Sobre o Sublime e atribuído ao crítico grego Cassius Longinus. Visitaremos as teorias de pensadores como Joseph Addison, Edmund Burke e Immanuel Kant, que apontam para o sublime exclusivamente como contemplação da natureza, e encerraremos essa jornada na reinserção do drama trágico na categoria sublime por Friedrich Schiller. Fecha-se, dessa forma, o que chamamos aqui de “ciclo do sublime natural”, que se inicia na leitura característica dos britânicos empiristas, encontra sua mais bem acabada teoria na terceira Crítica kantiana e se encerra no trabalho teórico e literário do poeta de Weimar. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Author, Art, and the Market: Rereading the History of AestheticsChristopher McClintickThe Author, Art, and the Market: Rereading the History of Aesthetics, by Martha Woodmansee; 200 pp. New York: Columbia University Press, 1994, $29.50.Martha Woodmansee’s book The Author, Art, and the Market: Rereading the History of Aesthetics deftly employs a historical, materialist focus to trace the growth of the middle-class in eighteenth-century Germany and to analyze its startling, (...) significant effects on literary aesthetics and the construction of canon, genre, and treatment of gender. The first five chapters are devoted, essentially, to an outline of the development of German aesthetics and the concluding chapter to the English reception of Kant. Woodmansee’s study offers much insight into the period and helps greatly to demonstrate “how a cultural formation that evolved as recently as ‘art’ could have entrenched itself so thoroughly that we imagine it always to have existed” (p. 8).Woodmansee’s central contention is that populist theories of aesthetics in Germany and England, which in many ways anticipated important elements of materialist or cultural studies emphases, were muted by canonized writers of the eighteenth century like Schiller, Wordsworth, and Coleridge. These writers propagated instead the Kantian notion of art as a realm separate from other human activities and the distinction between high and low art forms. The first three chapters are particularly strong and provide the historical and methodological underpinning for Woodmansee’s rereading of the history of German aesthetics. Chapter One begins with a discussion of the little-studied German writer Karl Philipp Moritz who, she says, “gave the first unequivocal and systematic expression to what I have called our modern conception of the arts” [End Page 176] (p. 11). Woodmansee points particularly to the fact that Moritz champions the notion of art as having an intrinsic value, an idea that five years later, in Kant’s Critique of Judgment, “came to fruition” (p. 12). In Chapter Two, “Genius and Copyright,” Woodmansee lucidly discusses texts such as Lessing’s essay “Leben und leben lassen,” clarifying the tensions regarding “the emergence in the eighteenth century of writers who sought to earn their livelihood from the sale of their writing to the new and rapidly expanding reading public” (p. 36). The survey includes Herder, Wieland, Fichte, and Goethe, and reveals how these writers’ concerns about the often exploitive relationship of authors and publishers, the growth of a middle-class readership, and the integration of literature into the general economy, greatly contributed to the establishment of the author as the main focus of any critical undertaking.It is Schiller, however, as the archinterpreter and proponent of Kantian aesthetics who is singled out for a particularly thorough rereading. In Chapter Three, Woodmansee writes that Schiller does not represent the kind of political liberality he is purported to in works like On the Aesthetic Education of Man (1793) but instead, “at a historical moment when so much discursive activity was being carried on in the name of the people, sought to write them out of his model of poetry” (p. 75). Schiller’s relationship to the middle-class market and its role in his transcendental aesthetic is graphically traced—from his attempts to penetrate the market and, failing this, his acceptance of, and dependence on patronage, and consequent dismissal of the reading public.In Chapter Six Woodmansee devotes her attention to English criticism, ending somewhat abruptly her discussion of German aesthetics with neoclassicism. Here she clarifies the great influence of Kant on Addison, Coleridge, and Wordsworth, who perpetuated the notion of art as an ideal realm, as well as the idea that criticism is a task which has “essentially to do with the recovery of a writer’s meaning” (p. 55). Woodmansee scrutinizes Wordsworth’s ostensibly nonmaterialist artistic motives partly by discussing the poet’s indefatigable efforts to get parliament to extend copyright laws in order to reward high art projects which, Wordsworth believed, the public could not properly appreciate until a later date. Woodmansee’s materialist focus seriously challenges the contention, as many would have it, that Wordsworth was a champion of the working people.Chapter Five, “Engendering Art,” does not adequately develop the... (shrink)

After John Dewey, Addison W. Moore was recognized as the chief spokesman for the instrumentalist version of pragmatism. Never before available, this complete collection of Moore's work contains dozens of philosophical articles, essays, book reviews, writings by other philosophers, and reviews of his work, together with his book, Pragmatism and its Critics (1910).

The globalization in business and tourism becomes crucial more and more for the economical sustainability of local communities. In the presence of an epidemic outbreak, there must be such a decision on the policy by the host community as whether to accept visitors or not, the number of acceptable visitors, or the condition for acceptable visitors. Making use of an SIRI type of mathematical model, we consider the influence of visitors on the spread of a reinfectious disease in a community, (...) especially assuming that a certain proportion of accepted visitors are immune. The reinfectivity of disease here means that the immunity gained by either vaccination or recovery is imperfect. With the mathematical results obtained by our analysis on the model for such an epidemic dynamics of resident and visitor populations, we find that the acceptance of visitors could have a significant influence on the disease’s endemicity in the community, either suppressive or supportive. (shrink)

Through qualitative surveys, a team of law students, law professors, physicians, and residents explored the perceptions of neurology residents towards referral to appropriate legal resources in an academic training program. Respondents reported feeling uncomfortable screening their patients for health-harming legal needs, which many attributed to a lack of training in this area. These findings indicate that neurology residents would benefit from training on screening for social factors that may be impacting their patients’ health.

Despite its uniform appearance, the cerebellar cortex is highly heterogeneous in terms of structure, genetics and physiology. Purkinje cells (PCs), the principal and sole output neurons of the cerebellar cortex, can be categorized into multiple populations that differentially express molecular markers and display distinctive physiological features. Such features include action potential rate, but also their propensity for synaptic and intrinsic plasticity. However, the precise molecular and genetic factors that correlate with the differential physiological properties of PCs remain elusive. In this (...) article, we provide a detailed overview of the cellular mechanisms that regulate PC activity and plasticity. We further perform a pathway analysis to highlight how molecular characteristics of specific PC populations may influence their physiology and plasticity mechanisms. (shrink)

Logic; Islamic philosophy; Islam--doctrines.