_ Source: _Volume 29, Issue 2, pp 129 - 147 Thomas Hobbes’s concept of felicity is a re-imagining of the Hellenistic concept of _eudaimonia_, which is based on the doctrine that people by nature are happy with little. His concept is based instead on an alternative view, that people by nature are never satisfied and it directly challenges the Aristotelian and Hellenistic concepts of _eudaimonia_. I also will suggest that Hobbes developed it from ideas he found in Aristotle’s _Rhetoric_ as (...) well as in Francis Bacon’s critique of ancient moral philosophy in _The Advancement of Learning_. (shrink)

The world is an untidy place, and the sciences—all of them—reflect this. One source of this untidiness is the relationship between levels of organization. Reducing macrolevels to microlevels—explaining the former in terms of the latter—has met with successes but has never been the whole story. In the biological sciences, there has been much attention lately to the shortcomings of reductionism on the grounds that (i) it changes the subject rather than explaining, (ii) it leads to a myopically molecular view of (...) the biological world, and (iii) the behavior or behaviors of complex systems are often very poorly predicted based solely on their microproperties. It is just for these reasons that biologists of many stripes have called for a move away from reductionism and toward a new kind of biology for the 21st century. But what shape might this new biology take? (shrink)

This is a selection of readings about professionalism and ethics in engineering. It addresses topics such as the concept of professionalism, education, and maintenance of competence, registration, professional autonomy, social effects and responsibilities, and enforcement of codes of ethics.

In this paper we explore a class of belief update operators, in which the definition of the operator is compositional with respect to the sentence to be added. The goal is to provide an update operator that is intuitive, in that its definition is based on a recursive decomposition of the update sentence’s structure, and that may be reasonably implemented. In addressing update, we first provide a definition phrased in terms of the models of a knowledge base. While this operator (...) satisfies a core group of the benchmark Katsuno Mendelzon update postulates, not all of the postulates are satisfied. Other Katsuno Mendelzon postulates can be obtained by suitably restricting the syntactic form of the sentence for update, as we show. In restricting the syntactic form of the sentence for update, we also obtain a hierarchy of update operators with Winslett’s standard semantics as the most basic interesting approach captured. We subsequently give an algorithm which captures this approach; in the general case the algorithm is exponential, but with some not unreasonable assumptions we obtain an algorithm that is linear in the size of the knowledge base. Hence the resulting approach has much better complexity characteristics than other operators in some situations. We also explore other compositional belief change operators: erasure is developed as a dual operator to update; we show that a forget operator is definable in terms of update; and we give a definition of the compositional revision operator. We obtain that compositional revision, under the most natural definition, yields the Satoh revision operator. (shrink)

THE LIFE Of FRANCIS BACON, LORD HIGH CHANCELLOR OF ENGLAND. THE ancient Egyptians had a law, which ordained that the actions and characters of their dead ...

The Novum Organum, (or Novum Organum Scientiarum - "New Instrument of Science"), is a philosophical work by Francis Bacon, originally published in 1620. The title is a reference to Aristotle's work Organon, which was his treatise on logic and syllogism. In Novum Organum, Bacon details a new system of logic he believes to be superior to the old ways of syllogism. This is now known as the Baconian method.

This chapter contains section titled: The Backstory: 1850s to 1950s The Decisive Influences: Brecht, Artaud, Grotowski The Decisive Years: 1961 to 1985 The Final Threads: Absorption of New Practices into the Profession and the Academy.

This chapter contains section titled: Enactment: Something Spectators and Performers do The Crucial Concept: “Attending to Another” What it is to “Occasion” Responses Audience Responses: Willing Suspension of Disbelief, Acquired Beliefs, or Acquired Abilities Relativizing the Account by Narrowing its Scope to Narrative Performances.

_The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.

Hamilton argues that narratives engage our imaginations not so much by having us pretend the events they depict are true or present as by having us engage in a kind of anticipation of events to come. The idea is that the grasp of a narratively structured presentation is explained in very much the same way any sequence of events, considered as a sequence, is grasped.

In this article I propose a way of thinking about aesthetic and artistic verdicts that would keep them distinct from one another. The former are reflections of the kinds of things we prefer and take pleasure in; the latter are reflections of other judgments we make about the kinds of achievements that are made in works of art. In part to support this view of verdicts, I also propose a way of keeping distinct the description, the interpretation, and the evaluation (...) of works of art. (And along the way, I worry about whether we offer the same kinds of interpretations of the objects of our aesthetic pleasures, properly considered, that we clearly do offer with respect to works of art.) The thesis I propose—the achievement model—is not original with me. What is original, perhaps, is that it is posed as an alternative to two other views of artistic evaluation, namely the appeal to “ideal critics” and the appeal to one way of understanding our preferences with regard to works of art. I do not attempt to show that each of these alternatives meets with insuperable problems; but I do indicate what I take to be the substantive content of those problems. In the end, in order to flesh out the thesis I propose, I borrow some material from the literature on human well-being concerning how we determine what an achievement is. (shrink)

This chapter contains section titled: Success Conditions for Interpreting what is Performed and Interpreting how it is Performed Eschewing Theories of “Work Meaning” Interpretation and Significance Interpreting Performers.

This book approaches Hobbes's philosophy from a completely new perspective: his creativity. Creativity is the production of something which experts consider to be original, valuable and of high quality. James Hamilton explores Hobbes's creativity by focusing on his development, personality, and motivation in the context of his culture and environment, and on the ways in which he thought creatively, as inferred from his writings. Identification of the ideas which Hobbes drew upon is an important part of the study (...) for two reasons. First, they are necessary to determine which of Hobbes's ideas and theories are original and which are not. Second, analysis of his creativity requires an understanding of the ideas from which he drew. Hamilton concludes that Hobbes became a great philosopher because of his creative virtuosity. (shrink)

James Moore states that "some of the most distinctive and central arguments of Hutcheson's philosophy - the importance of ideas brought to mind by the internal senses, the presence in human nature of calm desires, of generous and benevolent instincts - will be found to emerge in the course of these writings.""--Jacket.

In lieu of an abstract, here is a brief excerpt of the content:The Art of Theater—A PrécisJames R. Hamilton (bio)In The Art of Theater I propose and explain a claim that many theater people hold true in some form but, so far as I can tell, have defended in a manner that has had almost no success outside discussions among themselves.1 The claim proposed is that, in an unqualified way, theater is a form of art. By that I mean (...) theatrical performances are what are created in the practice of theater and that theatrical performances are works of art because they can be picked out and appreciated in the same ways we appreciate other kinds of artworks.2The agenda I set for the book is to state and explain what that claim comes to—exactly and in detail. Accordingly, most of the book consists of explanations of what else must be true if the claim is true, together with arguments defending the truth of those entailments. Some of the material consists of clarifying what the claim does not entail, and some passages contain arguments to show that alternative claims have problems that this one does not. Of these, I have allowed the explanation and clarification materials to carry the burden. Many philosophers and literary theorists are likely to find the claim incomprehensible because they have inherited, rather than critically accepted, a conception of theater as centrally dependent on literary texts.3 Philosophers, literary theorists, and theater theorists are better served by the explanations and clarifications I offer, however, because they show the claim can withstand the immediate objections or worries likely to arise.The direct argumentation I offer for the claim is historical. Indeed, I begin the book by tracing how theater has been conceived and practiced in the European theatrical tradition since the 1850s. I start there and then for several reasons. First, it is the beginning of a period of great achievement in theater, when literary artists began again to write for theater. Second, the same period also gave rise to a now dominant conception of theater: namely, [End Page 4] the idea that theatrical performances, or at least the most often performed, are events that are dependant primarily if not exclusively on literary texts. Finally, the 1850s were also the beginning of a period in which theater people were both doing and thinking about theater in ways that resisted that very same dominant conception. The conclusion I come to in tracing this history is that—without always intending to and sometimes by intending the opposite—theater’s theoretical practitioners have put us in a position to see the truth of the claim that theatrical performance itself is an independent form of art. Assured we can see that truth in the actual historical practices of theater, even in its most self-consciously text-oriented period, I then proceed to explain and clarify the claim.To begin with, the enormous success of the conjunction of literature and theater in late European theater practice means that any view of the art status of theatrical performances must explain the relation between a performance and a literary text, at least when a literary text is used in the performance. This is the first bit of explanation I undertake. A number of models of this relationship have been proposed, and I survey three of the primary ones. First, the “literary” model holds that performances illustrate or, at best, interpret the text and exist as a means to present the content—or the interpreted content—of the text in a performance mode. Second, the “two-text” model holds that the content of the literary text must be translated, adapted, transformed, reconstructed, or otherwise “reinscribed” in the language of theater. A third model, popular in analytic aesthetics, attempts to piggyback an account of theatrical works, texts, and theatrical performances on the well-developed ontology of musical works, scores, and musical performance.4 This third model might provide the right ontology of theatrical performances. Before we try to determine what kinds of things or events make our experience of theater what it is, however, first we should seek the best explanation of that experience. And that is the task I undertake in... (shrink)

This is a response to the letter to the editor “Prioritizing the Prevention of Early Deaths during Covid‐19,” by Govind Persad.

Hamilton argues that there is a level of understanding of theatrical performances, and narrative performances in particular (called "plays"), that does not require grasp of the large-scale aesthetic features that usually inform the structure of what is presented. This "basic understanding" is required for any spectator to go on to have a deeper understanding and, so, grounds any spectator's understanding of the larger-scale features of a performance.

Christian morality has been of enormous significance in world history and still underpins moral notions today. In this groundbreaking volume, J. Ian H. McDonald explores the notion of Christian ethics and discusses its roots, its significance in developing moral standards throughout the world and its stability in the modern world. The Crucible of Christian Morality begins with a study of the ethos of early Christian communities, examining the relation of cosmic vision to moral attitude and authority, noting also the types (...) of moral discourse used, and tracing the roots of these developments to the Old Testament and to the ministry of Jesus. The second half of the book concentrates on selected moral themes, concerned with persons, with communities in societies and with virtue or moral excellence, situating them in the context of ancient cultural developments. (shrink)

A number of recent revisionist developments raise new questions about Hobbes's political sympathies and their effect on his political thought. This essay assesses these developments and attempts to place the discussion on a new footing by arguing that Hobbes was a radical royalist in all three of his major works of political philosophy, but that there also was a republican undercurrent of a limited sort in his early works. Influenced perhaps by Richelieu's absolutist vision as well as French juridical and (...) sceptical ideas, Hobbes's support for the Stuarts guided his political philosophy and in key respects tellingly undermined it. But originally he also praised the stability of non-deliberative democracies and aristocracies and formulated a serviceable concept of civil liberty. The two political tendencies collided with each other under the political stresses of the 1640s, the republican tendency perished and he became even more royalist. (shrink)

This chapter contains section titled: Identifying Characters, Events, and Other Objects in Narrative Performances Re‐Identification of Characters and Other Objects in Narrative Performances The Special Nature of Theatrical (Uses of) Space: Performances and Performance Space Cross‐Performance Re‐Identification Identifying and Re‐Identifying Objects in Non‐Narrative Performances Added Benefits of the Demonstrative and Recognition based Approach to Identification and Re‐Identification Theatrical Performance as a Fully Independent Practice.

This chapter contains section titled: Idealized Cases that Help Focus on Features Needing Analysis Three General Facts about Theatrical Performances and the Constraints They Impose on any Successful Account of Theatrical Performances.

Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.

In lieu of an abstract, here is a brief excerpt of the content:Replies to CriticismsJames R. HamiltonI am grateful to Noël Carroll, David Davies, Sherri Irvin, Aaron Meskin, and Paul Thom for stimulating discussions of The Art of Theater over the past year, culminating in these carefully crafted critical comments on various aspects of the book.1 I especially appreciate the efforts of Sherri Irvin, who edited this special issue and without whose encouragement, enthusiasm, and careful editing this would not have (...) happened.Whenever the central proposals made in The Art of Theater were made by theater people during the past hundred years, they were greeted with a kind of baffled outrage by many traditionalist literature scholars who had taken it as an obvious fact that theatrical performances are nothing more than illustrations or interpretations of works of dramatic literature, at best requiring artistry for performance but not issuing in independent works of art. Quite a few contemporary literature and theater scholars have seen errors in the traditionalist view and proposed that theatrical performances are capable of even great artistry and, perhaps, of being works of art in their own right. It must be said, however, that they will not find my defense of that position congenial. Indeed, it will seem worse still from their point of view because my defense of the position does not require semiotic analysis, let alone any sort of poststructuralist thinking about theatrical performances that depends on seeing performance as a novel kind of text—a “theater text.” This will disappoint because, unlike many contemporary literary theorists (and even some theater theorists), I do not think of theatrical performances as something to be read and, further, as something that falls within the purview of literary scholarship after all. Performances are actions and are to be understood in the ways we understand all other actions.I knew the central proposals in The Art of Theater would seem a little strange to philosophers. Some of the strangeness that they have felt about the view—if not the baffled outrage felt by literary theorists—can be mitigated, I believe, by considering three facts that served as motivations for making the proposal. I encountered these facts while teaching experimental theater techniques in a workshop format. Only gradually did I come to realize they are facts about any theatrical performance—its presentation, its [End Page 80] preparation, and its reception. It was only after I realized how general these facts are that I began to wonder why the view they seem to suggest is not more widely held, or even discussed, among philosophers working on the performing arts. My book was designed to get that discussion going. And, to judge by the quality of the discussion in this volume, it has succeeded admirably in meeting that goal. I think the book is also largely correct, however, so it is worth beginning at the beginning, with the basic facts I encountered in teaching experimental theater.First, it is undeniable that what typical spectators for any theatrical performance grasp is delivered to them entirely during the time of the performance itself. The typical spectator—which excludes academics and professional critics—is usually unfamiliar with what she is about to see and hear, in content if not in kind. Nevertheless, most spectators are successful in tracking most theatrical performances, even some in wildly unfamiliar styles and traditions. This is an important fact. Its importance lies in the implication that spectators do not need to recognize anything beyond what they see in the performance to regard the event as something they can assess aesthetically and artistically.Second, rehearsal processes for theatrical performances involve a lot of experimentation that focuses on how to make features of actors’ bodies and voices render clearly what the audience is supposed to see and hear and on how to make the sights and sounds generated by the ensemble, the set, the lighting, and so on focus audience attention in the places that will best enable them to understand what the company is presenting. This too is an important fact, for it highlights what any spectator has to know something about in order to make cogent artistic assessments of the event she has witnessed.Finally, consider the following case... (shrink)

Hamilton shows how awareness of the uses of space -- in particular uses of space in which to stage an event of any kind -- enable spectators to pick out characters, props, and the like across performances within production runs, across production runs, and even across productions employing different scripts. The key ideas of object identification are taken both from the philosophical and the empirical literature and are treated as epistemic ideas rather than metaphysical conceptions.

We investigate the notion of relevance as it pertains to ‘commonsense’, subjunctive conditionals. Relevance is taken here as a relation between a property (such as having a broken wing) and a conditional (such as birds typically fly). Specifically, we explore a notion of ‘causative’ relevance, distinct from ‘evidential’ relevance found, for example, in probabilistic approaches. A series of postulates characterising a minimal, parsimonious concept of relevance is developed. Along the way we argue that no purely logical account of relevance (even (...) at the metalevel) is possible. Finally, and with minimal restrictions, an explicit definition that agrees with the postulates is given. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This chapter contains section titled: The Idea of a Tradition and Tradition‐Defining Constraints Constraints Derived from Origins in Written Texts What Really Constrains Performances in the Text‐Based Tradition The Myth of “Of”.

An investigation of Handke's play by means of an analysis of the elements of the Tractatus, known to have influenced Handke at the time he wrote Kaspar. This approach yields a much more plausible account of Handke's representation of his central character's alienation than are available from now-standard semiotic and post-structuralist analyses.