Searle claims that his theory of institutional reality is particularly suitable as a theoretical scheme of individuation for work in the social sciences. We argue that this is not the case. The first problem with regulatory individuation is due to the familiar fact that institutional judgments have constrained revisability criteria. The second problem with regulatory individuation is due to the fact that institutions amend their declarative judgments based on the inferential (syntactic) properties of the judgments and in response to regulatory (...) pressure, and not based on descriptive (semantic) properties and in response to matters of descriptive adequacy. These two problems imply that ‘regulatory kinds' (countries, borders, kings) will almost inevitably be disjunctive kinds that are ill-suited for scientific theorizing. This also explains why the law often makes odd pronouncements, e.g. calling ketchup a vegetable, considering an arm bent fifteen degrees to be straight, and not admitting that Somaliland is a country. (shrink)

What are physical quantities, and in particular, what makes them quantitative? This book presents an original answer to this question through the novel position of substantival structuralism, arguing that quantitativeness is an irreducible feature of attributes, and quantitative attributes are best understood as substantival structured spaces.

In A General View of Positivism French philosopher Auguste Comte gives an overview of his social philosophy known as Positivism. Comte, credited with coining the term 'sociology' and one of the first to argue for it as a science, is concerned with reform, progress and the problem of social order in society. In this English edition of the work, published in 1865, he addresses the practical problems of implementing his philosophy or doctrine, as he also refers to Positivism, into society. (...) He believes that society evolves through a series of stages that are ruled by social laws and culminate in a superior form of social life. During this reorganisation of society, which will find its greatest supporters among women and the working class, a 'new moral power' will emerge. Under the motto 'love, order and progress' Comte wishes humanism to replace organised religion as the object of spiritual worship. (shrink)

This collection of thirteen new essays is the first to examine, from a range of disciplinary perspectives, how the new technologies and global reach of the Internet are changing the theory and practice of free speech.

Important works in the Dewey corpus — particularly those discussing the theory and practice of art and aesthetic education, prepared from 1896 through 1900 while Dewey was working out the plan for the University's Laboratory School—remain virtually unstudied. When interpreting or building upon Dewey's theory of art and art education, scholars have relied on major works including _Democracy and Education, Experience and Nature_, and _Art as Experience_. The purpose of this paper is to revisit the Lab School works and reinterpret (...) them for contemporary philosophers of education and art educators. (shrink)

Transreligious theologians are posed with a number of difficult questions. First, how can I understand the beliefs and practices of a worldview I do not share? Then, once I begin to construct and synthesize truth claims, how normative are the source traditions? Finally, how do we transreligious theologians judge truth claims as better and worse? By offering answers to these questions using a model of critical interreligious appropriation, we may find a basis for a critical transreligious theology that avoids naïve (...) syncretisms and pernicious incommensurability. (shrink)

The philosopher Kant is a key thinker in shaping our contemporary concept of morality, freedom, and happiness. This book argues that Kant believes in God, but that he is not a Christian, and that this opens up an important and neglected dimension of Western Philosophy.

Dickens’s relationship with the Arts has confounded or silenced some of the most eminent critics from his day to ours. His own reticence on the topic likewise makes the idea of a book on Dickens and the Arts a little odd or dissonant. Though as this volume makes clear, he was well versed in a range of high and low arts, he was seemingly determined to embrace, if not the wrong side of the cultural track, metaphorically speaking, a different track. (...) The Introduction is structured around four broad areas which are key to an understanding of both the ideological underpinnings of shifting definitions of the Arts, and to an understanding of the reasons for Dickens’s complex relationship to the idea of the Arts: money/materialism; hierarchies of privilege; yardsticks of criticism or artistic judgement; the public good. There is an uneasy relationship between ‘the Arts’ and all four areas, between Dickens and all four, and between Dickens and the Arts understood via these frames, which are commonly invoked in discussions of the Arts. The contention of this volume is that, far from being a philistine who had no interest in the Arts, Dickens’s apparent reticence in an industrial age where the value and function of the Arts was uniquely important in public debate, masks a complex and sophisticated vision (if not theory) of the Arts in the modern era, which is, and was, ahead of its time. Dickens’s philosophy of art in fact works to complicate in subtle ways the idea of an opposition between idealist and integrationist views of the aesthetic, though its most characteristic thrust is integrationist. (shrink)

This collection begins its rich analytical investigation by describing how people Australian Aborigines, New Zealand Maori, Japanese, and Africans first learn the figured worlds of their own culture, made up of sensations, affirmations and ...