Hegel's treatment of the Sublime is both self-consistent and distinctive. He not only defines sublimity, but discovers and ranks its types or stages from one select point of view—the viewpoint of God-world relation; and the way he does this, on the one hand, distinguishes him from many others who have contributed to an understanding of the concept, and, on the other hand, enables him to suggest, if but implicitly, a criterion for distinguishing the sublime from allied concepts. Besides, he discusses (...) the matter in the wide context of diverse cultures, making quite a few insightful references to Eastern literature; and, consistently with his own conception of philosophy, also from the viewpoint of historical necessity, so that the sublime appears, in his Aesthetik, as a specific stage which the evolving story of art must in fact traverse. (shrink)

This essay seeks to clarify Gandhi's logic of self-suffering. Its inner accents have not received the attention they deserve. So I propose to emphasize them, though the context of such suffering and its impact on men too must be given due regard.

Advances in life-saving technologies in the past few decades have challenged our traditional understandings of death. Traditionally, death was understood to occur when a person stops breathing, their heart stops beating and they are cold to the touch. Today, physicians determine death by relying on a diagnosis of ‘total brain failure’ or by waiting a short while after circulation stops. Evidence has emerged, however, that the conceptual bases for these approaches to determining death are fundamentally flawed and depart substantially from (...) the established biological conception of death. We argue that the current approach to determining death consists of two different types of unacknowledged legal fictions. These legal fictions were developed for practices that are largely ethically legitimate but need to be reconciled with the law. The considerable debate over the determination of death in the medical and scientific literature has not informed the public that vital organs are being procured from still-living donors and it seems unlikely that this information can remain hidden for long. Given the instability of the status quo and the difficulty of making the substantial legal changes required by complete transparency, we argue for a second-best policy solution: acknowledging the legal fictions involved in determining death to move in the direction of greater transparency. This may someday result in more substantial legal change to directly confront the challenges raised by life-sustaining and life-preserving technologies without the need for fictions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XX, Number 2, November 1994, pp. 261-287 Collingwood's Understanding of Hume S. K. WERTZ What was David Hume's reception in the British idealistic tradition? In this paper, I shall contribute a short chapter on this question by examining Hume's place in R. G. Collingwood's thought.1 Such an examination has been lacking in the literature, so what follows is a comprehensive study of Collingwood's use of Hume (...) throughout all of R.G.'s writings. I shall mainly focus on two main, unrelated discussions of Hume: first is the theory of the imagination which primarily occurs in The Principles of Art, and second is the set of relations between human nature and human history which is principally found in The Idea of History. These sections will be followed by a section on minor discussions and omissions and a conclusion. It is a common misconception that Collingwood (1889-1943) has little to offer Hume scholarship, and I wish to amend that here. Actually, Collingwood has good insights into the nature of the imagination and its role in human understanding, besides instructive thoughts on Hume on human nature and history, even though his discussion of the latter is flawed. This essay serves both historical and philosophical purposes. It is to sample Hume's place in early twentieth century British idealism at a time when he began to emerge as an important philosophical figure worthy of careful study. (By "idealism," I mean the philosophical movement which takes ideas to be an irreducible part of the world and whose program is opposed to both materialism and realism.) So Collingwood's portrait is historically interesting. But over and above this, it carries significant philosophical amendments, S. K. Wertz is at the Department of Philosophy, Texas Christian University, Box 30781, Fort Worth, TX 76129 USA. e-mail: [email protected] 262 S. K. Wertz criticisms, and suggestions about Hume's thought and the eighteenth century intellectual climate. Collingwood has mostly been studied as a philosopher of history or as an aesthetician, but not in toto from the perspective of one of the historical figures to whom he is deeply indebted. Such a view affords a portrait of Hume that is instructive and rewarding. The comparison of Hume and Collingwood lead us to finer appreciation of both philosophers. Let us first look at Collingwood's positive contribution. Imagination Collingwood begins his analysis by declaring his intentions: I shall...try to show that there are such things, to be with what Hume (whose account of them I shall take as my starting-point) called 'ideas' as distinct from 'impressions'. I shall try to show that there is a special activity of mind correlative to them, and that this is what we generally call imagination, as distinct from sensation on the one hand and intellect on the other. (PA 170-71, emphasis added) Why would Collingwood start with Hume's distinction between impressions and ideas? Undoubtedly, this means that Collingwood is willing to accept the validity of the distinction and to build on it. Isn't this a strange place for an idealist to begin? Not really. When we look at British philosophy at the turn of this century, we find idealists preoccupied with the distinction,2 so it is not extraordinary to find Collingwood utilizing it to some extent. Like most Oxford students of the time, Collingwood read Locke, Berkeley, and Hume in his undergraduate program. Consequently we find them in the problems he addresses. "It was Hume who first perceived the [Lockean] problem [of confusing sensation with imagination]," Collingwood attributes, "and tried to solve it by distinguishing ideas from impressions" (PA 200). In detail: He [Hume] was right when he laid it down that the immediate concern of thought is not with impressions but with ideas; that it is ideas, not impressions, that are associated with one another and thus built up into the fabric of knowledge; and that ideas, though 'derived' from impressions, are not mere relics of them like an after-taste of onions or an after-image of the sun (as Lockeans like Condillac supposed), but something different in kind: different, if not in what he... (shrink)

Despite global and local attempts to end genital mutilation, in their various forms, whether of males or females, the practice has persisted throughout human history in most parts of the world. Various medical, scientific, hygienic, aesthetic, religious, and cultural reasons have been used to justify it. In this symposium on circumcision, against the background of the other articles by Hutson, Short, and Viens, the practice is set by the author within a wider, global context by discussing a range of rationalisations (...) used to support different types of genital mutilation throughout time and across the globe. It is argued that in most cases the rationalisations invented to provide support for continuing the practice of genital mutilation—whether male or female—within various cultural and religious settings have very little to do with finding a critical and reflective moral justification for these practices. In order to question the ethical acceptability of the practice in its non-therapeutic forms, we need to focus on child rights protection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art's DetourA Clash of Aesthetic TheoriesS. K. Wertz (bio)Both John Dewey1 and Martin Heidegger2 thought that art's audience had to take a detour in order to appreciate or understand a work of art. They wrote about this around the same time (mid-1930s) and independently of one another, so this similar circumstance in the history of aesthetics is unusual since they come from very different philosophical traditions. What was it (...) about the climate of the times that led them to such an idea? Is it still viable today? Both philosophers thought that art's audience is not in a position to immediately appreciate works of art—that we are missing something for a direct appreciation or apprehension—so we must take a detour. Why the detours and what are they? Are the detours similar? And are Dewey and Heidegger right about this? The essay that unfolds below attempts to answer these questions.First a definition is in order so we know what the term "detour" means when I use it. What is a detour? It is a deviation from a direct course or the usual procedure; a roundabout way temporarily replacing part of a route; in other words, a bypass or a roundabout way to some destination. The Little Oxford Dictionary adds a different twist on my characterization: "a course that leaves and rejoins [the] direct route."3 Applying this idea to art, we can say that a detour describes an audience who ordinarily perceives an artwork is a legitimate beginning for an appreciation of it, but that course must be bypassed for another (conception) before it can rejoin the direct route (perception). In other words, perceptions in the aesthetic experience must be aided by conceptions—a decidedly Kantian stance taken by Dewey and Heidegger. Their illustrations make my interpretation plausible.One of Heidegger's examples is Van Gogh's painting of a pair of peasant boots.4 He selects this painting to illustrate his metaphysics, which centers around the notion of "equipment." Peasant boots are equipment in [End Page 100] the sense that they are worn or used; the mere thing (like shoes or boots in a store [exhibited] or a closet [in storage]) disappears in use and becomes equipment. Between equipment and mere things—these two categories of being—are artworks. They are pictorial representations of equipment (in Heidegger's illustration; a pair of shoes as mere things could be a pictorial representation, like an advertisement, but it wouldn't be the same). Through the painted boots, a world comes into focus—a network of meaning. The world Heidegger sees in the Van Gogh painting is captured in the following descriptions: "In the vicinity of the [art]work we were suddenly somewhere else than we usually tend to be…. The art work let us know what shoes are in truth" (ATCR 233). So the nature of art is still a question about the nature of representation for Heidegger: it is what the shoes disclose to us about human existence. As he says, it is not just merely a pair of shoes portrayed but shoes "from the dark opening of the worn insides … the toilsome tread of the worker stares forth" (ATCR 232). In other words, we see the difficult labor that this particular owner toiled with in her daily chores.In Tralbaut's book, he quotes Heidegger in a caption alongside the painting: "Engraving in the intimate obscurity of the hollow of a boot is the weariness of the steps of work. The rough and solid weight of the clog tells of the slow and obstinate trudge across the fields."5 Heidegger continues in the same vein:In the stiffly rugged heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field swept by a raw wind. On the leather lie the dampness and richness of the soil. Under the soles slides the loneliness of the field-path as evening falls. In the shoes vibrates the silent call of the earth, its quiet gift of the ripening grain and its unexplained self-refusal in the fallow desolation of... (shrink)

This article investigates whether acts of plagiarism are predictable. Through a deductive, quantitative method, this study examines 517 students and their motivation and intention to plagiarize. More specifically, this study uses an ethical theoretical framework called the Theory of Reasoned Action and Planned Behavior to proffer five hypotheses about cognitive, relational, and social processing relevant to ethical decision making. Data results indicate that although most respondents reported that plagiarism was wrong, students with strong intentions to plagiarize had a more positive (...) attitude toward plagiarizing, believed that it was important that family and friends think plagiarizing is acceptable, and perceived that plagiarizing would be an easy task. However, participants in the current study with less intention to plagiarize hold negative views about plagiarism, do not believe that plagiarism is acceptable to family, friends or peers, and perceive that the act of plagiarizing would prove difficult. Based on these findings, this study considers implications important for faculty, librarians, and student support staff in preventing plagiarism through collaborations and outreach programming. (shrink)

I examine Nagarjuna’s averting an opponent’s argument, Paul Sagal’s general interpretation of Nagarjuna and especially Sagal’s conception of "averting" an argument. Following Matilal, a distinction is drawn between locutionary negation and illocationary negation in order to avoid errant interpretations of verse 29 The argument is treated as representing an ampliative or inductive inference rather than a deductive one. As Nagarjuna says in verse 30: "That [denial] of mine [in verse 29] is a non-apprehension of non-things" and non-apprehension is the averting (...) of arguments or "the relinquishing of all views." "Not making a proposition P" would be not speaking P or silence with regard to P and, as Sagal argues, not meaning a global linguistic silence. Such an interpretation would lead to attributing wholesale irrationalism to Nagarjuna-something I wish to avoid. (shrink)

In this work, S.K. Chakraborty develops the themes propounded in his earlier work to provide a systematic presentation of the relevant vedantic and allied principles in a conceptual and empirical framework. From an overall perspective of vedantic ethical vision and its application to managerial and corporate ethical morality, the book examines what the Vedantic ethical system, and great thinkers like Tagore, Gandhi, Burobindo and others, can teach us about such questions as individual leadership, transformation of the work ethos, ethics and (...) productivity, and others. Throughout, the conceptual and the empirical are closely intertwined, and substantial graphic appendices on the Tata leadership crisis of 1991 and the securities scam of 1991-92 give an immediacy and relevance to the analysis. (shrink)

Is the existence of God a question of fact? To the majority of theists, both now and in the past, I think it has seemed clear that, if the phrase ‘God exists’ is to be meaningful, then it is a fact, either that God exists or that he does not. This assertion may even seem trivially true; and yet it has evidently been denied, in recent years, by many theologians. The reasons for such a denial are, in part, to be (...) found in the general reaction against metaphysical philosophy, which was characteristic of the early years of this century, and which is, in Britain, epitomised by A. J. Ayer's stipulation that no proposition can be factually significant unless it is verifiable; unless, in principle at least, some series of observations could conceivably show it to be true. By restricting ‘observation’ to the senses of the physical body, and by emphasising the fact that God, as transcendent by definition, was not a possible object of the senses, some philosophically sensitive theologians were startled into denying that ‘God’ was, even in principle, verifiable; and consequently into denying that propositions purporting to assert his existence were factual. (shrink)

Although we believe the results reported below to have direct philosophical import, we shall for the most part confine our remarks to the realm of mathematics. The reader is referred to [4] for a philosophically oriented discussion, comprehensible to mathematicians, of tense logic.The “minimal” tense logicT0is the system having connectives ∼, →,F(“at some future time”), andP(“at some past time”); the following axioms:(whereGandHabbreviate ∼F∼ and ∼P∼ respectively); and the following rules:(8) fromαandα → β, inferβ,(9) fromα, infer any substitution instance ofα,(10) fromα, (...) inferGα,(11) fromα, inferHα.A tense logic is a systemTwhose language is that ofT0and whose axioms and rules include (1)–(11). The axioms and rules ofTother than (1)–(11) are calledproperaxioms and rules.We shall investigate three systems of semantics for tense logics, i.e. three notions ofstructureand three relations ⊧ which stand between structures and formulas. One reads⊧αas “αis valid in.” A structureis amodelof a tense logicTif every formula provable inTis valid in. A semantics isadequateforTif the set of models ofTin the semantics is characteristic forT, i.e. if wheneverT ∀ αthen there is a modelofTin the semantics such that∀ α. Two structuresand, possibly from different semantics, are calledequivalent(∼) if exactly the same formulas are valid inas in. (shrink)

The novel Doctor Zhivago has not received the attention it has deserved lately—even much less for its philosophical ideas—so in this essay I want to bring attention to Boris Pasternak's notion of the nature of consciousness, which I find quite interesting. Yurii Zhivago, one of the principal characters in Doctor Zhivago, says the following about the experience of death: Will you [Anna Ivanovona] feel pain? Do the tissues feel their disintegration? In other words, what will happen to your consciousness? But (...) what is consciousness? Let's see. A conscious attempt to fall asleep is sure to produce insomnia, to try to... (shrink)

What are the historical origins of aesthetic education? One of these comes from the eighteenth century. This became an important theme in a novel of the time. Published in 1761, Jean-Jacques Rousseau’s Julie, or the New Heloise: Letters of Two Lovers Who Live in a Small Town at the Foot of the Alps1 was an instant success in eighteenth-century Europe. Widely read, the novel made European culture self-conscious and forced it to pay attention to aspects of living that had gone (...) unnoticed or underappreciated, including taste and food.2 These aspects—taste and food—become concrete manifestations of aesthetic education. Through the voices of Julie and her tutor-turned-lover Saint Preux, they provide a lively critique of.. (shrink)

This volume is a collection of S.K. Chakraborty's papers on the east-west distinction in worldviews. The essays are reflective and deliberate upon philosophical diferences and attitudes of thinkers that have shaped the behavior of the common man, both in and out of the workplace.

Samuel Johnson has an interesting comment on consequences and the telling of “white lies.” For example “Sick People and Children are often to be deceived for their Good.” David Hume apparently endorses this concept in one of his letters. Both Johnson and Rousseau anticipate Kant’s argument about consequences in that one is to tell the truth under all circumstances. Hume, I argue, would take issue with this claim in that there are cases that warrant telling white lies. Elsewhere he speaks (...) about “harmless liars” who indulge in “lying or fiction... in humorous stories.” And he says “Noble pride and spirit may openly display itself when one lies under calamity [defamation or slander] or opposition of any kind,” especially if the opposition puts one’s life in grave danger, so one’s self-preservation is threatened. Under situations like these, lying is justified. In regard to fiction, if lying is for the purpose of entertainment and where “truth is not of any importance,” it is permissible. These cases are discussed in some detail, and they offer, along with their analysis, a pragmatic defense of Hume’s position. (shrink)

The notion of a harmonious universe was taught by Pythagoras as early as the sixth century BC, and remained a basic premise in Western philosophy, science, and art almost to our own day. In Touches of Sweet Harmony, S. K. Heninger first recounts the legendary life of Pythagoras, describes his school at Croton, and discusses the materials from which the Renaissance drew its information about Pythagorean doctrine. The second section of the book reconstructs the many facets of this doctrine, and (...) the final section shows its influence on Renaissance poetics. Professor Heninger's magisterial work introduces the reader not only to Pythagoras but to a host of other classical, medieval, and Renaissance figures as well--from Plato and Aristotle through St. Augustine and Macrobius down to Sidney and Spenser. (shrink)

Treatment of diseases of the brain by drugs or surgery necessitates an understanding of its structure and functions. The philosophical neurosurgeon soon encounters difficulties when localising the abstract concepts of mind and soul within the tangible 1300-gram organ containing 100 billion neurones. Hippocrates had focused attention on the brain as the seat of the mind. The tabula rasa postulated by Aristotle cannot be localised to a particular part of the brain with the confidence that we can localise spoken speech to (...) Broca's area or the movement of limbs to the contralateral motor cortex. Galen's localisation of imagination, reasoning, judgement and memory in the cerebral ventricles collapsed once it was evident that the functional units-neurones-lay in the parenchyma of the brain. Experiences gained from accidental injuries (Phineas Gage) or temporal lobe resection (William Beecher Scoville); studies on how we see and hear and more recent data from functional magnetic resonance studies have made us aware of the extensive network of neurones in the cerebral hemispheres that subserve the functions of the mind. The soul or atman, credited with the ability to enliven the body, was located by ancient anatomists and philosophers in the lungs or heart, in the pineal gland (Descartes), and generally in the brain. When the deeper parts of the brain came within the reach of neurosurgeons, the brainstem proved exceptionally delicate and vulnerable. The concept of brain death after irreversible damage to it has made all of us aware of 'the cocktail of brain soup and spark' in the brainstem so necessary for life. If there be a soul in each of us, surely, it is enshrined here. (shrink)

As an account of food, associationism has shortcomings as an explana­tion of taste and eating. It maintains that only ideas are associated or related to one another and not perceptions. Perceptions, according to this theory, are independent of one another. Food presents a challenge for associationism because food has a cogni­tive dimension, i.e., judgments are made about its ingredients, presentation, order or sequence of tasting, and so on. Consequently, the scientific field of dynamics offers a viable alternative explanation with its (...) focus on change or reactions which take place in baking and cooking. An understanding of food chemistry leads to a greater appreciation of what one tastes and eats. This approach and emphasis on food chemistry was first appreciated by Brillat-Savarin in his La Physiologie du Gout (1825), and contemporary reflections are made on his treatise. (shrink)