'Chains of Being' argues that there can be infinite chains of dependence or grounding. Cameron also defends the view that there can be circular relations of ontological dependence or grounding, and uses these claims to explore issues in logic and ontology.

Many have been tempted to invoke a primitive notion of grounding to describe the way in which some features of reality give rise to others. Jessica Wilson argues that such a notion is unnecessary to describe the structure of the world: that we can make do with specific dependence relations such as the part–whole relation or the determinate–determinable relation, together with a notion of absolute fundamentality. In this paper I argue that such resources are inadequate to describe the particular ways (...) in which some parts of reality give rise to others, and thus that we do in fact need grounding. (shrink)

Orthodoxy says that the thesis that composition is identity (CAI) entails universalism: the claim that any collection of entities has a sum. If this is true it counts in favour of CAI, since a thesis about the nature of composition that settles the otherwise intractable special composition question (SCQ) is desirable. But I argue that it is false: CAI is compatible with the many forms of restricted composition, and SCQ is no easier to answer given CAI than otherwise. Furthermore, in (...) seeing why this is the case we reveal an objection to CAI: that it allows for the facts concerning what there is to be settled whilst leaving open the question about what is identical to what. (shrink)

Together, these entail that for every true proposition p, there exists some thing which could not exist and p be false.

I begin by contrasting three approaches one can take to the distinction between the essential and accidental properties: an ontological, a deflationary, and a mind‐dependent approach. I then go on to apply that distinction to the necessary a posteriori, and defend the deflationist view. Finally I apply the distinction to modal truth in general and argue that the deflationist position lets us avoid an otherwise pressing problem for the actualist: the problem of accounting for the source of modal truth.

I argue that Agustín Rayo’s symmetric ‘just is’ statements cannot be defined in terms of notions like essence, grounding or metaphysical truth-conditions. I go on to argue that one of these latter notions, which allow us to express an asymmetric relationship between facts, is needed to do some of the work that Rayo intends ‘just is’ statements to do, such as stating reductionist claims.

Many philosophers and psychologists have thought that people untutored in philosophy are moral realists. On this view, when people make moral judgments, they interpret their judgments as tracking universal, objective moral facts. But studies of folk metaethics have demonstrated that people have a mix of metaethical attitudes. Sometimes people think of their moral judgments as purely expressive, or as tracking subjective or relative moral facts, or perhaps no facts at all. This paper surveys the evidence for folk metaethical pluralism and (...) argues for an explanation of this mix of folk metaethical attitudes: without philosophical education, these attitudes are typically caused by factors that are insensitive to their truth. Moreover, unless they can be justified by other means, metaethical attitudes with this etiology are, as a result, irrational, and ought not be used as evidence for or against moral realism. (shrink)

In this paper I argue that there are some sentences whose truth makes no demands on the world, being trivially true in that their truth-conditions are trivially met. I argue that this does not amount to their truth-conditions being met necessarily: we need a non-modal understanding of the notion of the demands the truth of a sentence makes, lest we be blinded to certain conceptual possibilities. I defend the claim that the truths of pure mathematics and set theory are trivially (...) true, and hence accepting their truth brings no ontological commitment; I further defend the claim that the truths of applied mathematics and set theory do not demand the existence of numbers or sets. While the notion of a demand must not be reduced to anything modal, I nonetheless argue that sentences that are trivially true must also be necessary, lest we violate a very weak version of the principle that truth depends on the world. I further argue that all necessary truths are trivially true, lest we admit unexplained necessities. I end by showing one important consequence of this: I argue that if there are truthmakers for intrinsic predications, they must be states of affairs rather than tropes. (shrink)

I attempt to accommodate the phenomenon of vagueness with classical logic and bivalence. I hold that for any vague predicate there is a sharp cut-off between the things that satisfy it and the things that do not; I claim that this is due to the greater naturalness of one of the candidate meanings of that predicate. I extend the thought to the problem of the many and Benacerraf cases. I go on to explore the idea that it is ontically indeterminate (...) what the most natural meanings are, and hence ontically indeterminate where the sharp cut-off in a sorites series is. (shrink)

This paper is an investigation of metaphysical nihilism: the view that there could have been no contingent or concrete objects. I begin by showing the connections of the nihilistic theses to other philosophical doctrines. I then go on to look at the arguments for and against metaphysical nihilism in the literature and find both to be flawed. In doing so I will look at the nature of abstract objects, the nature of spacetime and mereological simples, the existence of the empty (...) set, the dependence of universals on particulars, and other general questions of ontology. (shrink)

In footnote 56 of his Naming and Necessity, Kripke offers a ‘proof’ of the essentiality of origin. On its most literal reading the argument is clearly flawed, as was made clear by Nathan Salmon. Salmon attempts to save the literal reading of the argument, but I argue that the new argument is flawed as well, and that it can’t be what Kripke intended. I offer an alternative reconstruction of Kripke’s argument, but I show that this suffers from a more subtle (...) fault. (shrink)

In this paper I argue that warrant for Lewis’ Modal Realism is unobtainable. I consider two familiar objections to Lewisian realism – the modal irrelevance objection and the epistemological objection – and argue that Lewis’ response to each is unsatisfactory because they presuppose claims that only the Lewisian realist will accept. Since, I argue, warrant for Lewisian realism can only be obtained if we have a response to each objection that does not presuppose the truth of Lewisian realism, this circularity (...) is vicious. I end by contrasting Lewis’ methodology with Forrest’s in order to illustrate a rival method that does not fall victim to the objection I lay against Lewis. (shrink)

ABSTRACT This article explores how literary study engages readers’ moral perception and imagination. Although some philosophers discuss reading as a largely solitary activity, this article explores social practices of reading common in English language arts classrooms in secondary schools. The article shows how reading with others can change the quality of moral perception and imagination in literary study. Reading with others, the article contends, can involve an ethic focused on the good of knowing one’s ways of seeing make a difference (...) to others. The article defends social practices of reading by arguing they can broaden and complicate students’ moral perception and imagination by making students accountable to texts, one another, and the wider world. (shrink)

Renunciation as a creative force is the animating idea behind Ross Posnock s new book. Taking up acts of abandonment, rejection, and refusal that have long baffled critics, he shows how renunciation has reframed the relationship of writers, philosophers, and artists to society in productive and unpredictable ways.".

This paper presents a dialogue between a psychotherapist whom we will call Lilly, and Ross Channing Reed, Ph.D., a philosopher and philosophical counselor. Lilly begins by asking Ross a series of questions regarding philosophical counseling and his approach to working with her. Ross discusses his philosophy and approach to philosophical counseling, what it is like to provide counseling for a therapist, and the educational nature of philosophical counseling. Topics addressed include the nature of unarticulated trauma, the repetition (...) compulsion, moral evil, the narrative construction of a human life, the potentially debilitating effects of moralizing about feelings, the importance of humor, spirituality and philosophy, embodiment, the arts, and Alice Miller’s concept of the “Enlightened Witness.” Next, Ross asks Lilly a series of questions relating to her personal and professional journey prior to and during philosophical counseling. Lilly reveals that she spent significant time in therapy with a psychologist prior to philosophical counseling. She discusses why she sought counseling from a philosopher, how philosophical counseling has been beneficial in her personal and professional lives, and how philosophical counseling has been different from other forms of counseling. (shrink)

In this paper I argue that warrant for Lewis’ Modal Realism is unobtainable. I consider two familiar objections to Lewisian realism – the modal irrelevance objection and the epistemological objection – and argue that Lewis’ response to each is unsatisfactory because they presuppose claims that only the Lewisian realist will accept. Since, I argue, warrant for Lewisian realism can only be obtained if we have a response to each objection that does not presuppose the truth of Lewisian realism, this circularity (...) is vicious. I end by contrasting Lewis’ methodology with Forrest’s in order to illustrate a rival method that does not fall victim to the objection I lay against Lewis. (shrink)

ABSTRACTPhilosophers and psychologists have come to recognize contempt as a crucial concept for understanding moral and social life. Yet its conceptual history remains understudied. I argue that contempt underwent an important conceptual shift at the end of the 1640s with the publication of René Descartes’ Passions de l’âme. Prior to Descartes, early modern philosophers excluded contempt from their taxonomies of the passions, treating it instead as a form of indifference. To have contempt for something was to be free of passion (...) in the face of it. Following Descartes’ intervention, however, philosophers increasingly included contempt among the passions, those unruly perturbations of the mind that could have benign or dangerous effects depending on how they were moderated. This was a change that harboured practical as well as philosophical implications. For what had once been an emblem of self-mastery was now itself a passion in need of regulation. The contempt displayed by aristocrats, in particular, now signified a dangerous lack of self-control rather than a cool display of superiority. I conclude by drawing out the affinities between this mid-seventeenth-century reconceptualization of contempt as a passion and the current attempt by philosophers to redeem contempt as a morally justifiable attitude. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

InDemocracy in America, Tocqueville described the ideal wife of a democratic citizen as a capable domestic helpmeet who enables the citizen‐husband to endure the daily trials of political activity. Tocqueville's biographers have presented Tocqueville's own wife Mary Mottley as having approximated this ideal. Mottley's importance, it is claimed, lay in providing the domestic calm and psychological support that Tocqueville needed to think, act, and write as he did. My aim in this article is to challenge this interpretation by offering an (...) overdue reassessment of Mottley's life and work, uncovering the hidden labors she performed in Tocqueville's circle and giving scope, where possible, to her own political views and activities. Mottley, I argue, refused to confine herself to the domestic‐management and emotional‐support roles typical of a Tocquevillian citizen‐wife. Instead, she carved out a role for herself as Tocqueville's political and intellectual interlocutor. (shrink)

This article explores the philosopher Alice Crary’s ideas about ethics, literature, and nonhuman animals. Through studying certain works of literature, Crary writes, readers can see aspects of animals’ moral characteristics that are difficult to perceive outside of literary study. To illustrate and extend Crary’s argument, the article presents a reading of John Steinbeck’s (1937/1993) Of Mice and Men, a novella that is taught frequently in secondary schools and that has been re-evaluated by critics as offering insights into social inequality and (...) animal welfare. Drawing upon and adapting Crary’s work, which does not address questions of pedagogy, the article describes forms of instruction that enable students reading Of Mice and Men and other works of literature to explore the moral lives of animals. Thus, a key contribution of this project is its explanation of how educators can use philosophy to open pedagogy to new ways of seeing and assessing animals’ moral characteristics. (shrink)

This paper explores the transformation of martyrdom, a legitimate Islamic concept, into suicide terrorism. The authors argue that the original application, meaning, and glory of martyrs in Islam is violated by extremists' use of suicide terrorism that is being justified with the misappropriation of Islamic principles, narratives, and themes. That extremists are able to redefine martrydom and jihad--two terms that are hotly debated and a source of controversy in the Muslim world--creates not only tension among the West and Muslims, but (...) seeks to strip Islam of its true authenticity. The question of how to restore the fundamental values of classical Islam as well as the need to revive Islam in an effort to marginalize, if not eradicate, extremists is beginning to occur on a global scale. However, reversing the extremist ideology and strengthening moderate Islam will require a sustained effort and coordination among various Islamic groups, communities and countries to have a lasting effect in defeating suicide terrorists. (shrink)

The aim of this paper is to identify and partially defend a form of practical reason involved in a number of central cases of human action. Against the claims of rational choice theory that reasoning about action is primarily instrumental, it argues for a form of practical reason which allows for the indeterminate, open?ended and creative nature of the most important examples of human action. Rational choice theory not only gives a distorted account of the reasoning involved in these cases; (...) it also ? and more fundamentally ? misconceives the nature of human agency. What moves us to act are characteristically not our ?preferences?, but our ?desires?, and the logic of desire is not that of means to end, but of narrative coherence. The paper also argues that rational choice theory fails to recognize the essentially social nature of rationality, and in its ambition to construct social theory on the basis of rational choice it fails to recognize the fundamental role of trust in social relationships. (shrink)

McCabe's interpretation of Mill as a socialist is convincing but does not render his writings any less available to liberals. The term ‘socialism' was a slippery one in nineteenth-century Britain. For the likes of Arnold Toynbee, even self-proclaimed Tories could become socialists if they embraced the right policies. The existence of such ‘Tory socialists’ serves as a reminder of the hybridity of political identity at the time Mill was writing (hyphenated socialists were socialists nonetheless). Several aspects of Mill's socialism – (...) his rejection of class antagonism, his discomfort with revolutionary change, and his focus on small-scale socialist experiments rather than achieving a socialist state – will reassure liberal readers that his socialism did not overwhelm his more liberal commitments. McCabe's book might thus be best read as supplementing the liberal reading of Mill rather than supplanting it. I conclude by suggesting that a Liberal-Socialist hybrid inspired by Mill could prove useful to the effort (begun recently by Axel Honneth) to re-found socialism on a non-Marxian basis. (shrink)

In her Vindication of the Rights of Men, Mary Wollstonecraft accused Edmund Burke of having contempt for his political opponents. Yet she herself expressed contempt for Burke and did so unapologetically. Readers have long regarded Wollstonecraft’s decision to match Burke’s contempt with one of her own as either a tactical blunder or evidence that she sought merely to ridicule Burke rather than argue with him. I offer an interpretation and defence of Wollstonecraft's rhetorical choices by situating the Vindication within eighteenth-century (...) debates about the dangers of elite contempt and the best methods for stifling it. Rather than countering Burke’s contempt with more of the same, Wollstonecraft’s Vindication marks a distinction between two forms of contempt. The first expresses the false sense of superiority experienced by elites who owe their social elevation to arbitrary differences of wealth or family. As such, it represents both an abuse of privilege and an anxious recognition among elites that their... (shrink)

: Ross examines the relation between thought and madness within the practical and theoretical wings of Kant's critical philosophy. She argues that the notion of critique is formulated as a guard against the tendency of thought to madness. She locates the significance of David-Ménard's essay on Kant's pre-critical works in the idea that Kant's own tendency to madness functions in these early works as a motivational principle for the mature, critical system.

Sir David Ross was one of the most distinguished and influential Aristotelians of this century; his study has long been established as an authoritative survey of the life, work and philosophy of Aristotle. This clear and lucid account contains useful summaries of theories and arguments, with brief, suggestive critical comments. Aristotle's work encompassed all the branches of science and learning which were central to the intellectual life of the ancient world: logic, the philosophy of nature, biology, psychology, metaphysics, ethics, (...) politics, rhetoric and poetics. Aristotle's borrowings from his predecessors, and his own fundamental influence on later philosophy, are also examined. Important Greek terms in Aristotle's work are explained and discussed. Aristotle is now re-issued with a new introduction by John L. Ackrill, which reviews developments in Aristotelian studies since Sir David Ross originally wrote his classic study. The bibliography has been supplemented by references to recent works. Both students of philosophy and general rea ders will find the volume an indispensable guide to Aristotle's thought. (shrink)

George MacDonald Ross; Philosophy in Schools, Journal of Philosophy of Education, Volume 22, Issue 2, 30 May 2006, Pages 207–219, https://doi.org/10.1111/j.1467.

vol. I. Logic: Categoriae. De interpretatione. Analytica priora. Analytica posteriora.--vol. II. Natural philosophy: Physica. De caelo. De generatione et corruptione.--vol. III. Psychology: De anima. Parva Naturalia.--vol. IV. Metaphysics: Metaphysica.--vol. V. Ethics: Ethica Nicomachea.--vol. VI. Politics and poetics: Politica. De poetica.