This essay consists of an examination of the work of three thinkers who conceive of liberal education primarily in teleological terms, and, implicitly if not explicitly, attempt to offer some answer to the question: what does it mean to be fully human? John Henry Newman, T. S. Eliot, and Josef Pieper developed their understanding of liberal education from their own intellectual and religious experience, which was informed by a specifically Christian conception of the place of education in a fully (...) developed human life. I suggest that the strength of their understanding of liberal education derives from its connection to the various small cohesive religious communities to which they were connected. Nonetheless, this insularity was also the primary weakness because each writer ended universalising what was in fact a particular and unique cultural and religious experience instead of providing convincing proof of a single human nature with a single telos. I will contrast this teleological conception of liberal education with that of Michael Oakeshott and his student Kenneth Minogue, both of whom wrote about education in a post-religious era in which the earlier consensus had completely broken down. They both celebrated the variety of practices which human beings have invented for themselves over the past several centuries (and past several millennia), and did not appear to suffer from the lack of any unifying single human telos. I will suggest that their understanding of practice insulated them from the need for a single unifying telos. (shrink)

This essay consists of an examination of the work of three thinkers who conceive of liberal education primarily in teleological terms, and, implicitly if not explicitly, attempt to offer some answer to the question: what does it mean to be fully human? John Henry Newman, T. S. Eliot, and Josef Pieper developed their understanding of liberal education from their own intellectual and religious experience, which was informed by a specifically Christian conception of the place of education in a fully (...) developed human life. I suggest that the strength of their understanding of liberal education derives from its connection to the various small cohesive religious communities to which they were connected. Nonetheless, this insularity was also the primary weakness because each writer ended universalising what was in fact a particular and unique cultural and religious experience instead of providing convincing proof of a single human nature with a single telos. I will contrast this teleological conception of liberal education with that of Michael Oakeshott and his student Kenneth Minogue, both of whom wrote about education in a post-religious era in which the earlier consensus had completely broken down. They both celebrated the variety of practices which human beings have invented for themselves over the past several centuries (and past several millennia), and did not appear to suffer from the lack of any unifying single human telos. I will suggest that their understanding of practice insulated them from the need for a single unifying telos. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradox of Kandinsky's Abstract RepresentationKenneth BerryThere is a paradox in the relationship between Kandinsky's use of the terms, "abstract" and "concrete," which is presented in the expression, "Kandinsky's abstract representation." Thisexpression, while being apparently contradictory, may point to a feature underpinning Kandinsky's art, which is pivotal to a proper experience of his work, just as, in Christopher Middleton's view, a poetic language may be pivotal to the formation (...) of cultures.1 Art and cultural artifacts are vital to aesthetic experience and aesthetic education, and both the language of art and other languages are instrumental to this end. However, how may Kandinsky's mature abstraction, being in essence objectless, have any claim to representation, and consequently the higher cultural goals of aesthetic expression and the aesthetic enrichment of society?According to Thomas M. Messer, the position of centrality that Kandinsky has assumed in our understanding of modern art is largely due to his having brought to bear on his art, an instinctive awareness of what constituted the central aesthetic issues of his era.2 Kandinsky's writings in Concerning the Spiritual in Art elaborate on his aesthetic theories, and, in particular, [End Page 99] present the view that paintings should be looked at as a graphic representation of a mood rather than as a representation of objects. Messer observes that, for Kandinsky, abstraction, defined as a mode of painting extending beyond the depiction of recognizable objects, having gradually stripped itself of mimetic vestiges, thus becomes paramount. Michael Carter has similarly pointed out that with the pure forms of absolute abstraction, the non-objective colors and shapes of Kandinsky's paintings were regarded as distillations of the aesthetic properties of the artistic sign3 — separable from any referential aspect of art.4 This aesthetic aspect of Kandinsky's work, which became known as nonfigurative, nonobjective, or nonrepresentational,goes along with the cultural — and, as sculptor Anish Kapoor has remarked, "in the deepest, deepest depths of human history the cultural has always been a motivator of people," and has the power to transform society through finding visual equivalents for an emotional language.5Much has been written about Kandinsky's use of color, but perhaps the primary innovation that he made, as in the case of Barnett Newman, was in the field of drawing. Kandinsky was influenced by Gauguin's idea that drawing was an abstraction from memory after nature, just as Gauguin had been affected by the simplified contours and flattened forms of Puvis de Chavannes. Drawing did not come so easily to Kandinsky as color — he had to work harder at drawing, but in his early improvisations, forms and their outlines as graphic symbols came welling up from the unconscious, and eidetic motifs only had to be copied — almost as the art of calligraphy. Kandinsky's "organic" drawing developed as an urge to nonnaturalistic impulses, and during the period of Point and Line to Plane became almost a grammar of form, saved from mere pedantry by the living forces or visual tensions that made various kinds of line operate not just as contours but as dynamic or restful elements within themselves. In 1913, Kandinsky wrote in his "Reminiscences" that, "painting is a thundering collision of different worlds, intended to create a new world in, and from, their struggles with one another, a new world which is the work of art."6 It is clear from this that the Modernist work of art was intended to be a "new world" operating according to its own universal aesthetic laws.Kandinsky is not just a painter; he is also a visual poet. Poetry, according to Tony Curtis, involves the expression of the intensification of experience — the elevation of banal facts of life into something beyond the merely prosaic — something unique and perceptively heightened.7 It involves both imagination and poetic license to explore both ambiguity and paradox. As Scottish poet Norman MacCaig observed, poetry renders the ordinary extraordinary, seeing the unfamiliar in the familiar.8 Creative analogical thinking such as evinced in Kandinsky's art, often involves breaking free of a clichéd representation.Malcolm Budd has remarked that, in its most exclusive sense, a work... (shrink)

In their book, Roman but Not Catholic, Kenneth Collins and Jerry Walls make the case that certain beliefs central to the Roman Catholic faith are unreasonable. This article evaluates, from the point of view of Eastern Orthodoxy, some of the arguments Collins and Walls make. In particular, it argues first that Collins and Walls are correct to criticize John Henry Newman’s theory of the development of doctrine as a reason to accept otherwise insufficiently supported Catholic doctrines. Secondly, it (...) offers some points of clarification concerning the matter of sacred tradition and attempts to show the areas of agreement and disagreement between Eastern Orthodoxy and the position that Collins and Walls articulate. Thirdly, it argues that Collins and Walls rely on what is, from an Eastern Orthodox point of view, a questionable view about the interpretation of scripture by assuming without good reason that the clear meaning of scripture is equivalent to the literal interpretation. (shrink)

Volume 20 of _The Annual of Psychoanalysis_ ably traverses the analytic canvas with sections on "Theoretical Studies," "Clinical Studies," "Applied Psychoanalysis," and "Psychoanalysis and Philosophy." The first section begins with Arnold Modell's probing consideration of the paradoxical nature of the self, provocatively discussed with John Gedo. Modell focuses on the fact that the self is simultaneously public and private, dependent and autonomous. Alice Rosen Soref next explores innate motivation and self-protective regulatory processes from the standpoint of recent infancy research; her (...) notion of a lifelong two-track model of self and relatedness helps establish a normative baseline that can anchor psychoanalytic theory. George Mahl makes an interesting contribution to Freud studies in the form of a new chronology of Freud's works and the number of pages they contain in the _Standard Edition_. The section ends with Robert Galatzer-Levy and Mayer Gruber's "quasi-experiment about disgust." They test and disconfirm the hypothesis that disgust is an affective response to an abstract sense of disorder rather than a transformation of a concrete, bodily experience by systematically exploring references to concepts of disgust in the Old Testament. Section II, on "Clinical Studies," opens with Henry Smith's fascinating elaboration of Freud's notion of "screen memories" into a theory of screening that denotes the general process by which mental content is organized. He illustrates his thesis by invoking the "screen language" employed by a patient throughout her analysis. Ernest Wolf next explores the tension between being a "scientist" and a "healer" in Freud and his followers to illuminate struggles within the psychoanalytic movement and to help account for current attitudes toward abstinence, neutrality, and gratification. Kenneth Newman focuses on this same triptych of technical precepts. He argues, in the spirit of Winnicott and Kohut, that analysts can only alter the hostile internal environments of their patients by becoming "usable" objects and cultivating an optimally responsive analytic environment. A particularly rich collection of applied analytic studies forms Section III of the volume. Individual chapters focus on the childhood of Vincent van Gogh ; the psychological healing process depicted in George Eliot's _Silas Marner_ ; the self-psychological meaning of "blood brotherhood" in D. H. Lawrence's _Women in Love_ ; ecstatic mysticism in the 19th-century Indian saint Sri Ramakrishna ; the disintegration of the Tyrone family in Eugene O'Neill's _Long Day's Journey into Night_ ; and the nature and analytic significance of Freud's aesthetic response to Michelangelo's _Moses_. Finally, in Section IV, George Brook examines the commonsense psychological knowledge of everyday life, that is, the nonpsychoanalytic knowledge on which much of clinical psychoanalysis ultimately depends. Taken together, the four sections of Volume 20 of _The Annual_ offer an exciting overview of contemporary psychoanalysis. Section I highlights recent trends in psychoanalytic theorizing and the testing of psychoanalytic propositions; Section II explores the relevance of new theoretical perspectives to clinical work; Section III demonstrates the applicability of these new perspectives to psychobiographical and literary analysis; and Section IV provocatively explores the points of connection between everyday ideas and attitudes and the tenets of psychoanalytic practice. (shrink)

Volume 24 of _The Annual_ opens with a memorial tribute to the late Merton M. Gill, a major voice in American psychoanalysis for half a century. Remembrances of Gill by Robert Holt, Robert Wallerstein, Philip Holzman, and Irwin Hoffman are followed by thoughtful appreciations of Gill's final book, _Psychoanalysis in Transition: A Personal View_, by John Gedo, Jerome Oremland, Arnold Richards and Arthur Lynch, Joseph Schachter, and Bhaskar Sripada and Shara Kronmal. Section II offers four papers from a major conference (...) on "Mind/Brain" held in Osaka, Japan. In addition to publishing two clinical papers by the Chicago analyst John Gedo, _The Annual_ introduces readers to two prominent Japanese neuroscientists whose work is relevant to psychoanalysis. Hiroshi Utena links brain development to the individual's freedom to make optimal adaptive choices, whereas Makoto Iwata outlines the modular organization of vision in the brain and then illustrates each modular potential by examining the paintings of four artists: Mondrian, Duchamp, Seurat, and Rothko. Kenneth Newman's sensitive consideration of analyst self-discourse as the outcome of successful management of the countertransference and Frank Summers' astute assessment of the place of self psychology in the history of psychoanalytic ideas are followed by three engaging and instructive studies in applied analysis: Elaine Caruth and Milton Eber's examination of Woody Allen's _The Purple Rose of Cairo _as a metaphoric depiction of the blurring of boundaries in psychotherapy; Frank and Annette Lachmann's study of the creative process of Henrik Ibsen as a self-transformational response to narcissistic injury; and W. W. Meissner's exploration of the role of shame in Vincent van Gogh's life and art. The volume concludes with a provocative contribution to psychoanalytic history: J. Bos's social-constructivist rereading of the _Minutes of the Vienna Psycho-Analytic Society_ with an eye to illuminating why and how psychoanalysis changed during its early years. True to its distinguished lineage, volume 24 of _The Annual_ continues to broaden the conceptual, clinical, and historical vistas of its readers. Moreover, with its revealing reminiscences and substantive appraisals of Merton Gill, this volume becomes a fascinating marker in the very psychoanalytic history it helps recount. (shrink)

This article proposes a role for aesthetic judgment in our practical thought. The role is related to those moments when practical reason seems to give out, when it fails to yield a judgment about what to do in the face of a choice we cannot avoid. I argue that these impasses require agents to create, but that not any creativity will do. For we cannot regard a response to one of these problems as arbitrary or capricious if we want to (...) act on it. We must instead regard that response as justified by the problem itself. I suggest that this combination of creativity and normativity is characteristic of aesthetic judgment and this makes it a promising candidate for making these very difficult choices. (shrink)

The term “ideology” can cover almost any set of ideas, but its power to bewitch political activists results from its strange logic. It is part philosophy, part science, and part spiritual revelation, all tied together in leading to a remarkable paradox—that the modern Western world, beneath its liberal appearance, is actually the most systematically oppressive system of despotism the world has ever seen. In Alien Powers, Kenneth Minogue takes this complex intellectual construction apart, analyzing its logical, rhetorical, and psychological (...) devices, and thus opening it up to critical analysis. This new, ISI Books’ Background edition of Alien Powers includes a new introduction to the text by Martyn P. Thompson and critical essays on the text by political theorist Paul Gottfried and philosopher Stephen A. Erickson. (shrink)

If representation is resemblance, how we do we think of groups or classes of things? According to a tradition Berkeley opposed—a tradition represented by Locke—we do so by forming abstract or incomplete ideas. I show that Berkeley's opposition does not depend on his own personal failure to form abstract images, but on what he took to be the impersonal or objective impossibility of abstract objects. Berkeley himself accounts for general thinking not in terms of abstract or incomplete ideas, but in (...) terms of our selective attention to ideas both concrete and determinate. Contentful thought about the natural world is impossible without ideas as objects, Berkeley believes, but ideas do not, in his view, completely fix the content of our thought. (shrink)

After describing the corpuscularian background of Berkeley's work, I consider whether Berkeley can endorse the existence of immaterial atoms or corpuscles. I suggest that he hopes to avoid a definite commitment. He wants his position to ‘float’, its level to be determined by the kind of empirical evidence that would strike materialists and immaterialists with equal force. This chapter foregrounds the role played by the notion of intelligibility, both in the defence of modern corpuscularian science and in Berkeley's critical response (...) to it. (shrink)

This chapter reviews and assesses Berkeley's main arguments for immaterialism, his arguments against the existence of matter or material substance. I place particular emphasis on the themes of earlier chapters: intentionality, abstraction, necessity, and intelligibility. My aim is to show that Berkeley's thinking about these topics made a powerful contribution to his immaterialism, even if they seem, on the surface, to be distant from it. I provide an account of immediate perception as Berkeley understands it, and emphasize the phenomenalist elements (...) in Berkeley's development of immaterialism. (shrink)

I suggest that in his early, unpublished notebooks, Berkeley experimented with a radically formal conception of necessity, according to which necessity is nothing more than the inclusion of one idea within the definition of another. Berkeley's experiment was defeated by the same objective connections that rule out the existence of simple ideas. Although Berkeley was left without an understanding of the nature of necessity, he never wavered in his conviction that necessity is something objective—that ideas and the world have an (...) inherent, inescapable structure. (shrink)

I offer an interpretation and partial defence of Berkeley's belief that he is a mind or spirit—a spiritual substance—distinct from his ideas. I argue in particular that the arguments examined in earlier chapters, particularly the account of representation or intentionality developed in Ch. 1, and the immaterialist arguments reviewed in Ch. 6, do not force Berkeley to conclude that spiritual substance is no less impossible than matter.

Many empiricists, among them Locke and Hume, make a distinction between simple and complex ideas. Berkeley refuses to do so, because he finds connections—objective connections incompatible with simplicity—even among the ‘simplest’ of ideas. Simple ideas, in his view, are illegitimately abstract.

This is the first of three chapters examining the consequences of Berkeley's immaterialism and the problems to which it gives rise. In the present chapter, I defend a phenomenalist interpretation of Berkeley on unperceived objects. Appealing to his denial of blind agency, I show that a phenomenalist interpretation can be reconciled with texts that seem to go against it. I provide a modest interpretation of Berkeley's doctrine of archetypes, and argue briefly that even in Siris, Berkeley's doctrine of archetypes is (...) unambitious and not especially Platonic. (shrink)

This chapter explores the difference between two kinds of signs that Berkeley followed Locke in recognizing: words and ideas. I argue that Berkeley does not assume that ideas are images of things but concludes it, as part of a deliberate attempt to explain how at least some of our thoughts succeed in referring to the world. For Berkeley, representation—the intentionality or ‘aboutness’ of thought—is sometimes a matter of resemblance.

Whereas many philosophers take backwards causation to be impossible, the few who maintain its possibility either take it to be absent from the actual world or else confined to theoretical physics. Here, however, I argue that backwards causation is not only actual, but common, though occurring in the context of our social institutions. After juxtaposing my cases with a few others in the literature and arguing that we should take seriously the reality of causal cases in these contexts, I consider (...) several objections. These objections involve whether the cases should be reinterpreted, whether they are properly within the institution, whether they involve necessitation or else Cambridge changes, whether and how they involve changing the past, and whether this should call us to question institutional reality. I end by suggesting that it is a virtue of our institutions that they allow backwards causation, that this is a kind of technology that they are often built to incorporate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:François H. Lapointe PHILOSOPHY AND LITERATURE: A BIBLIOGRAPHIC SURVEY ThL· survey is limited to articles written in English that have appeared in journals published between 1 January 1974 and 31 December 1976. Abbott, Don. "Marxist Influences on the Rhetorical Theory of Kenneth Burke." Philosophy and Rhetoric 7 (1974): 217-33. Abel, Lionel. "Jacques Derrida: His 'Difference' With Metaphysics." Salmagundi no. 25 (1974): 3-21. Adamowski, T. H. "Character and Consciousness: (...) D. H. Lawrence, Wilhelm Reich, and Jean-Paul Sartre." University of Toronto Quarterly 43 (1974): 31 1-34. Adams, D. J. "Style and Social Ideas in Jacques le fataliste." Studies in Voltaire & the Eighteenth Century 124 (1974): 231-48. Adams, Hazard. "Contemporary Ideas of Literature: Terrible Beauty or Rough Beast?" Contemporary Literature 17 (1976): 349-77. Adorno, Theodor W. "Lyric Poetry and Society." Telos no. 20 (1974): 56-71. Ages, Arnold. "Bonald and the Jews." Revue de l'Université d'Ottawa 44 (1974): 32-43. Allen, Diogenes. "The Experience of Existence: Jean-Paul Sartre and Iris Murdoch." International Philosophical Quarterly 14 (1974): 181-87. Allen, Marcus. "Character Development in the Oreste of Voltaire and Les Mouches of Jean-Paul Sartre." CLA Journal 18 (1974): 1-21. Alter, Jean. "A (Terrorist) System of the Novel." Diacritics 6 (1976): 10-15. Altieri, Charles. "Wittgenstein on Consciousness and Language: A Challenge to Derridean Literary Theory." MLN 91 (1976): 1397-1423. Altieri,Charles. "Wordsworth's 'Preface' as Literary Theory." Criticism 18 (1976): 122-146. [On Wordworth and Wittgenstein.] Ames, Van Meter. "Art for Art's Sake Again?" Journal of Aesthetics and Art Criticism 33 (1975): 303-307. Appleman, Philip. "The Dread Factor: Eliot, Tennyson, and the Shaping of Science." Columbia Forum, N. S. 3 (1974): 32-38. Armstrong, Paul B. " E. M. Forster's Howard's End: The Existential Crisis of the Liberal Imagination." Mosaic 8 (1974): 183-99. Arnold, A. James. "La Condition humaine as Nietzschean Tragedy." Mélanges Malraux Miscellany 6 (1974): 15-24. 366 François H. Lapointe367 Aronson, Ronald. "L'Idiot de la famille: The Ultimate Sartre?" Telos no. 20 (1974): 90-107. Arthos, John. "Du Bartas, Petrarch and the Poetry of Deism." Rice University Studies 60 (1974): 1-17. Artz, Johannes. "Newman as Philosopher." International Philosophical Quarterly 16 (1976): 263-88. Ausmus, Harry J. "Schopenhauer's Philosophy of Language." The Midwest Quarterly 18 (1977): 169-86. Ayala, Francisco. "Ortega y Gasset, Literary Critic." Critical Inquiry 1 (1974): 395-414. Bakalar, H. Nicholas. "The Cartesian Legacy to the Eighteenth-century Grammarians." MLN 91 (1976): 698-721. Barnes, Hazel. "Apotheosis and Deification in Plato, Nietzsche and Huxley." Philosophy and Literature 1 (1976): 3-24. Baron, Dennis E. "Role Structure and the Language of Literature." Journal of Literary Semantics 4 (1975): 43-52. Barooskian, Vahan D. "The Aesthetics of the Russian Revolutionary Theatre 1917-1921." British Journal of Aesthetics 15 (1975): 99-117. Bart, B. F. "Hypercreativity in Stendhal and Balzac." Nineteenth Century French Studies 3 (1974-75): 18-39. Barthes, Roland. "An Introduction to the Structural Analysis of Narrative." New Literary History 6 (1975): 237-72. Bashford, Bruce. "The Rhetorical Method in Literary Criticism." Philosophy and Rhetoric 9 (1976): 133-46. Bass, Alan. "Time and the Witch: Femininity, Metapsychology and the Temporality of the Unconscious." MLN 91 (1976): 871-912. Bassett, Sharon. "Towards a Critique of Romanticism: Wordsworth, Pater and the 'Anima Mundi'." Criticism 17 (1975): 262-75. Batchelor, R. "Literature, Society and the Concept of Revolt." European Studies Review 5 (1975): 395-427. Battin, M. Pabst. "Aristotle's Definition of Tragedy in the Poetics, Part 1." Journal of Aesthetics and Art Criticism 33 (1974): 155-70, and Part II in Ibid. 33 (1975): 293-302. Bauer, George. "Sartre and the 'Sugars' of History." L'Esprit Créateur 15 (1975): 377-86. Baumgarten, Murray. "The Historical Novel: Some Postulates." Clio 4 (1975): 173-82. Beauchamp, Gorman. "Gulliver's Return to the Cave: Plato's Republic and Book IV of Gulliver's Travels." The Michigan Academician 7 (1974): 201-10. Bennett, Jonathan. "The Conscience of Huckleberry Finn." Philosophy 48 (1974): 123-34. Benzon, William. "Cognitive Networks and Literary Semantics." MLN 91 (1976): 952-82. Bergonzi, Bernard. "A Grid of Codes: Views of Structuralism." Encounter 45 (1975): 52-58. Berry, Wanda Warren. "The... (shrink)

This essay In this essay develops and defends the view that a “self “ is nothing but a creature that bears the property of selfhood, where bearing selfhood is, in turn, nothing but having the capacity to deploy self-representations. Self-representations, it is argued, are very special things. They are distinguished from other sorts of representations,not by what they represent – mysterious inner entities called selves, say -- but by how they represent what they represent. A self-representation represents nothing but a (...) living human animal but it does do in a special way. It follows that a "self" is not a thing that a living human animals has or contains within, but something a living human animal is. The view defended represents a principled middle ground between Cartesianism and Factionalism or Eliminativism about the self. (shrink)

This study addresses the question of justice in health care. Increasing numbers of Americans are uninsured, the cost of health care is escalating, and is projected to continue doing so. In response to these and other concerns, Americans have looked to their neighbor to the north, Canada, for possible help in treating the ills of America's health care system. In addition to offering a comparative analysis of the Canadian and American health care systems, we have sought to identify the facts (...) that motivate concerns on both sides of the border. It is within this larger context, we argued, that the question of justice in health care must be answered. ;We consider two alternative answers that have been advanced in response to the question of justice in health care, Norman Daniels' fair equality of opportunity argument and Allen Buchanan's enforced beneficence arguments for a right to a decent minimum of health care. After subjecting these arguments to critical scrutiny, we found that they could not bear the moral weight that the authors thought they could. ;We then considered an alternative account that might be used to address the question of justice in health care, David Gauthier's theory of justice. We concluded, among other things, that under his theory people would have a right to a just minimum of health care. In addition, we argued that a just minimum of health care would resolve the theory-dependent version of the bottomless pit problem. (shrink)

If one includes the methodological preface the final argument of the Phaedo is by far the longest, as well as the one Socrates’ audience and Plato's readers are most ready to accept, and is often regarded as the one argument in the Phaedo that Plato himself accepted. Nevertheless it is also the most obscure, elusive, and frustrating of the arguments, whose intention as well as validity are in continual dispute. It has aptly been compared to an intricate maze, and while (...) it is perhaps appropriate that Socrates, who is portrayed in the dialogue as a kind of Theseus battling the Minotaur of fear of death, should finally pick his way through a labyrinth of distinctions, it is exceptionally difficult for the reader to find the thread and follow it. (shrink)