Our varied communities of discourse face a rhetorical future shaped by juridical styles reminiscent of the "adversary culture" postulated by post-war American critic Lionel Trilling. Itself the subject of litigious debate. the adversarial spirit today shows few signs of weakening, but its influence can be better understood and guided along certain tracks. To influence this adversarial style in coming decades, we need to explore the difference between evidencebased reasoning, which draws on the sensationalist logic ofinduction. and reflexive reasoning, which (...) draws on the second-order logic of presumption. Understanding the structures and dynamics of this reflexive style forces us to address our responsibilities as speakers, as we seek to shape our rhetorical future. Close examination of adversarial contlict may lead us toward useful consensus on how the new game should be played. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.2 (2004) 393-405 [Access article in PDF] Decency and Its Discontents Richard Freadman La Trobe University In The Beginning of the Journey, Diana Trilling makes this rather shocking claim about her husband, Lionel: "In the dark recesses of his heart where unhappiness was so often his companion, he was contemptuous of everything in his life that was dedicated to seriousness and responsibility."1 Lionel (...) had been dead almost 20 years when a near blind Diana dictated this comment in her controversial auto/biography in the early 1990s. Of course he was revered for—among other things—precisely his qualities of intellectual "seriousness and responsibility." But Diana argued that Lionel had in effect settled for such sober virtues because for temperamental and other reasons he could not live the life he really craved—the life of a swashbuckling novelist, with all its recklessness, its refusal of compromise, even its moral waywardness. When Hemingway died Lionel wrote in his notebook: "who would suppose how much he haunted me? How much he existed in my mind—as a reproach? He was the only writer of our time I envied" (Beginning, p. 371). Lionel's critical discussions of Hemingway's fiction are judicious and qualified.2 He admired the uncompromising short story writer who was "passionately and aggressively concerned with truth" (SLS, p. 127), but found the work of the self-conscious "legend" (p. 125), writing in the first-person, ponderous and disappointing. It was not the prose that Lionel so wanted to emulate. It was the life; in particular, its power to release and nurture creativity. Diana continues: "It was to decency that Lionel felt he had sacrificed his hope of being a writer of fiction—conscience had not made a coward of him, it had made him a critic" (Beginning, p. 372). [End Page 393]Decency—how often we use the word. How seldom we ask what we mean by it. Usually it functions as a sort of guarantor term, like the caged canary in the coal mine. If the canary lives, the miners are judged to have fair air to breathe; if a person possesses certain qualities, or a society provides certain requisite conditions, we say the person is "decent," or that this is a "decent society." Yet remarkably few virtue ethicists have countenanced the possibility that decency might be counted among the virtues; that it might be the subject of substantive intellectual reflection; that we might investigate its relation to other virtues, its internal structure, its characteristic patterns and possibilities of existential investment. As John Kekes, one of the very few philosophers to have paid the notion serious philosophical attention, says: "Decency is generally admitted to be a good thing, but is not generally supposed to be particularly important."3In this short essay I attempt two linked undertakings: first, to offer a characterization of Decency—the term henceforth accorded a capital "D" to indicate its status as a moral virtue; second, to read aspects of Lionel Trilling's life and work, and Diana's late assessment of him, in the light of Decency, as I understand the term. I "Decent" seems to refer to a "state," a sort of moral condition a person is "in," and to a resultant orientation towards others. The "state" is one of modesty, even humility. The ego doesn't loom large or get in the way. The orientation is one of solicitude towards others. Decent people of this kind genuinely care about, feel for others. Unless they are given good reason to behave otherwise, their disposition towards others tends to be respectful; they bring to most situations an assumption that the other person is worthy, deserves to be taken seriously. Decency of this kind tends to be associated with receptiveness, relatedness, a patient openness to others, though it need not be passive.The word "decent" derives from the Latin, deceré—to become, to be fitting. It's been used in English since about the 1530s. From that period to the early twentieth century "decent" has generally indicated that something is fitting, appropriate, with respect to social rank... (shrink)

Taking Emerson as his starting point, Cornel West’s basic task in this ambitious enterprise is to chart the emergence, development, decline, and recent resurgence of American pragmatism. John Dewey is the central figure in West’s pantheon of pragmatists, but he treats as well such varied mid-century representatives of the tradition as Sidney Hook, C. Wright Mills, W. E. B. Du Bois, Reinhold Niebuhr, and Lionel Trilling. West’s "genealogy" is, ultimately, a very personal work, for it is imbued throughout with (...) the author’s conviction that a thorough reexamination of American pragmatism may help inspire and instruct contemporary efforts to remake and reform American society and culture. "West... may well be the pre-eminent African American intellectual of our generation."—The Nation "_The American Evasion of Philosophy_ is a highly intelligent and provocative book. Cornel West gives us illuminating readings of the political thought of Emerson and James; provides a penetrating critical assessment of Dewey, his central figure; and offers a brilliant interpretation—appreciative yet far from uncritical—of the contemporary philosopher and neo-pragmatist Richard Rorty.... What shines through, throughout the work, is West's firm commitment to a radical vision of a philosophic discourse as inextricably linked to cultural criticism and political engagement."—Paul S. Boyer, professor emeritus of history, University of Wisconsin–Madison. Wisconsin Project on American Writers Frank Lentricchia, General Editor. (shrink)

During and after the Second World War, public intellectuals in Britain and the United States grappled with concerns about the future of democracy, the prospects of liberty, and the decline of the imperial system. Without using the term 'globalization,' they identified a shift toward technological, economic, cultural, and political interconnectedness and developed a 'globalist' ideology to reflect this new postwar reality. The Emergence of Globalism examines the competing visions of world order that shaped these debates and led to the development (...) of globalism as a modern political concept. Shedding critical light on this neglected chapter in the history of political thought, Or Rosenboim describes how a transnational network of globalist thinkers emerged from the traumas of war and expatriation in the 1940s and how their ideas drew widely from political philosophy, geopolitics, economics, imperial thought, constitutional law, theology, and philosophy of science. She presents compelling portraits of Raymond Aron, Owen Lattimore, Lionel Robbins, Barbara Wootton, Friedrich Hayek, Lionel Curtis, Richard McKeon, Michael Polanyi, Lewis Mumford, Jacques Maritain, Reinhold Niebuhr, H. G. Wells, and others. Rosenboim shows how the globalist debate they embarked on sought to balance the tensions between a growing recognition of pluralism on the one hand and an appreciation of the unity of humankind on the other."--Dust jacket. (shrink)

Richard Gaskin presents a work in the philosophy of language.

Derrida and Foucault are opposed to each other on a number of grounds, and perhaps the one specially singled out in Foucault's attack on Derrida—that Derrida is concerned only with "reading" a text and that a text is nothing more than the "traces" found there by the reader—would be the appropriate one to begin with here.1 According to Foucault, if the text is important for Derrida because its real situation is literally an abysmally textual element, l'écriture en abîme with which (...) criticism so far has been unable really to deal,2 then for Foucault the text is important because it inhabits an element of power with a decisive claim on actuality, even though that power is invisible or implied. Derrida's criticism therefore moves us into the text, Foucault's in and out of it. · 1. Michel Foucault's attack on Derrida is to be found in an appendix to the later version of Folie et déraison: Historie de la folie à l'âge classique , pp. 583-602; the earlier edition has been translated into English: Madness and Civilization: A History of Insanity in the Age of Reason, trans. Richard Howard .· 2. Jacques Derrida, La Dissémination , p. 297. Edward W. Said, Parr Professor of English and comparative literature at Columbia University, is the author of Orientalism and The Question of Palestine, along with numerous publications on literature, politics, and culture; his Beginnings: Intention and Method received the first annual Lionel Trilling Memorial Award. "The Problem of Textuality" will appear in a slightly different form in his Criticism between Culture and System. (shrink)

Richard Jeffrey regarded the version of Bayesian decision theory he floated in ‘The Logic of Decision’ and the idea of a probability kinematics—a generalisation of Bayesian conditioning to contexts in which the evidence is ‘uncertain’—as his two most important contributions to philosophy. This paper aims to connect them by developing kinematical models for the study of preference change and practical deliberation. Preference change is treated in a manner analogous to Jeffrey’s handling of belief change: not as mechanical outputs of (...) combinations of intrinsic desires plus information, but as a matter of judgement and of making up one’s mind. In the first section Jeffrey’s probability kinematics is motivated and extended to the treatment of changes in conditional belief. In the second, analogous kinematical models are developed for preference change and in particular belief-induced change that depends on an invariance condition for conditional preference. The two are the brought together in the last section in a tentative model of pratical deliberation. (shrink)

Cet article est le premier d’une série de contributions dont l’objectif est de rendre compte des investigations menées à Délos sur les différents secteurs de la ville qui n’ont jusqu’à présent fait l’objet d’aucune fouille. Celui‑ci est consacré à la région située au nord et à l’est du stade, au contact de la presqu’île de Patinioti. Il ressort des observations réalisées en surface du terrain naturel qu’on a affaire à un quartier d’habitations organisé en îlots autour d’une voie principale nord-sud, (...) qui semble être la continuité du quartier du Stade fouillé par A. Plassart et pourrait dater de la seconde période de la domination athénienne après 167 av. J.‑C. Sur les franges littorales est et ouest, les maisons sont construites perpendiculairement à la ligne du rivage, obligeant les constructeurs à réaliser d’importants travaux de génie civil. Les différences structurelles observées entre ces deux systèmes conduisent à se poser la question de la chronologie relative qui a présidé au développement de ce secteur. (shrink)

The humanity formulation of Kant's Categorical Imperative demands that we treat humanity as an end in itself. Because this principle resonates with currently influential ideals of human rights and dignity, contemporary readers often find it compelling, even if the rest of Kant's moral philosophy leaves them cold. Moreover, some prominent specialists in Kant's ethics have recently turned to the humanity formulation as the most theoretically central and promising principle of Kant's ethics. Nevertheless, it has received less attention than many other (...) aspects of Kant's ethics. Richard Dean offers the most sustained and systematic examination of the humanity formulation to date. He presents an original analysis of what it means to treat humanity as an end in itself, and examines the implications both for Kant scholarship and for practical guidance on specific moral issues. (shrink)

Can war ever be justified? Why is it wrong to kill? In this new book Richard Norman looks at these and other related questions, and thereby examines the possibility and nature of rational moral argument. Practical examples, such as the Gulf War and the Falklands War, are used to show that, whilst moral philosophy can offer no easy answers, it is a worthwhile enterprise which sheds light on many pressing contemporary problems. A combination of lucid exposition and original argument (...) makes this the ideal introduction to both the particular debate about the ethics of killing and war, and also to the fundamental issues of moral philosophy itself. (shrink)

Richard Gaskin offers an original defence of literary humanism, according to which works of imaginative literature have an objective meaning which is fixed at the time of production and not subject to individual readers' responses. He shows that the appreciation of literature is a cognitive activity fully on a par with scientific investigation.

ABSTRACTThis book symposium onAccuracy and the Laws of Credenceconsists of an overview of the book’s argument by the author, Richard Pettigrew, together with four commentaries on different aspects of that argument. Ben Levinstein challenges the characterisation of the legitimate measures of inaccuracy that plays a central role in the arguments of the book. Julia Staffel asks whether the arguments of the book are compatible with an ontology of doxastic states that includes full beliefs as well as credences. Fabrizio Cariani (...) raises concerns about the argument offered in the book for various chance-credence principles. And Sophie Horowitz questions the assumptions at play in the book’s argument for the Principle of Indifference, as well as asking how the various laws of credence considered in the book relate to one another. (shrink)

Overview * Part I: Introduction * Philip Appleman, Darwin: On Changing the Mind * Part II: Darwin’s Life * Ernst Mayr, Who Is Darwin? * Part III: Scientific Thought: Just before Darwin * Sir Gavin de Beer, Biology before the Beagle * Thomas Robert Malthus, An Essay on the Principle of Population * William Paley, Natural Theology * Jean Baptiste Pierre Antoine de Monet Lamarck, Zoological Philisophy * Charles Lyell, Principles of Geology * John Herschell, The Study of Natural Philosophy (...) * William Whewell, Astronomy and General Physics Considered with Reference to Natural Theology * Alfred Russel Wallace, On the Tendency of Varieties to Depart Indefinitely from the Original Type * Part IV: Selections from Darwin’s Work * The Voyage of the Beagle * o Chapter I. St. Jago-Cape de Verd Island o Chapter XVII. Galapagos Archipelago * On the Tendency of Species to Form Varieties; and On the Perpetuation of Varieties and Species by Natural Means of Selection * o I. Extract from an unpublished Work on Species, by C. Darwin, Esq.... o II.of Letter from C. Darwin, Esq., to Prof. Asa Gray, Boston, U.S., dated Down, September 5th, 1857 * An Historical Sketch of the Progress of Opinion on the Origin of Species, previously to the : Publication of This Work The Origin of Species * o Introduction o Chapter I. Variation under Domestication o Chapter II. Variation under Nature o Chapter III. Struggle for Existence o Chapter IV. Natural Selection o Chapter VI. Difficulties on Theory o Chapter IX. On the Imperfections of the Geological Record o Chapter XIII. Mutual Affinities of Organic Beings: Morphology: Embryology: Rudimentary Organs o Chapter XIV. Recapitulation and Conclusion * The Descent of Man * o Introduction o Chapter I. The Evidence of the Descent of Man from Some Lower Form o Chapter II. On the Manner of Development of Man from Some Lower Form o Chapter III. Comparison of the Mental Powers of Man and the Lower Animals o Chapter VI. On the Affinities and Genealogy of Man o Chapter VIII. Principles of Sexual Selection o Chapter XIX. Secondary Sexual Characters of Man o Chapter XX. Secondary Sexual Characters of Man-continued o Chapter XXI. General Summary and Conclusion * Part V: Darwin’s Influence on Science * THE VICTORIAN OPPOSITION TO DARWIN * o David L. Hull, Darwin and His Critics o Adam Sedgwick, Objections to Mr. Darwin’s Theory of the Origin of Species o Sir Richard Owen, Darwin on the Origin of Species o Fleeming Jenkin, Review of the Origin of Species * VICTORIAN SUPPORTERS OF DARWIN * o Joseph Dalton Hooker, Flora Tasmaniae o Thomas Henry Huxley, On the Relations of Man to the Lowe Animals o Charles Lyell, Principles of Geology o Alfred Russel Wallace, The Debt of Science to Darwin * DARWIN AND THE SHAPING OF MODERN SCIENCE * o Scientific Method in Evolution o National Academy of Sciences, Evolution and the Nature of Science o Richard Dawkins, Explaining the Very Improbable o Lewis Thomas, On the Uncertainty of Science o Noretta Koetge, Postmodernisms and the Problem of Scientific Literary o Richard Dawkins, Science and Sensibility o The Neo-Darwinian Synthesis o Peter Bowler, The Evolutionary Synthesis o The Human Genealogy o Adam Kuper, The Chosen Primate o Ian Tattersall, Out of Africa Again... and Again? o Stephen Jay Gould, The Human Difference o Punctuated Equilibrium o Stephen Jay Gould, [On Punctuated Equilibrium] o Niles Eldredge, The Great Stasis Debate o Rethinking Taxonomy o Kevin Padian, Darwin’s Views of Classification o David L. Hull, Cladistic Analysis o Kevin Padian and Luis M. Chiappe, Cladistics in Action: The Origin of Birds and Their Flight o Evolution as Observable Fact o James L. Gould and William T. Keeton with Carol Grant Gould, How Natural Selection Operates o Peter r. Grant, Natural Selection and Darwin’s Finches o John A. Endler, Natural Selection in the Wild * Part VI: Darwinian Patterns in Social Thought * COMPETITION AND COOPERATION * o Richard Hofstadter, The Vogue of Spencer o Andrew Carnegie, The Gospel of Wealth o Peter Kropotkin, Mutual Aid o Martin A. Nowak, Robert M. May, and Karl Sigmund, The Arithmetics of Mutual Help * NATURE AND NURTURE * o Edward O. Wilson, Sociobiology: The New Synthesis o Stephen Jay Gould, Biological Potentiality vs. Biological Determination o Barbara Ehrenreich and Janet McIntosh, The New Creationism: Biology under Attack * EVOLUTION AND GENDER * o Elizabeth Cady Stanton, The Woman’s Bible o Nancy Makepeace Tanner, On Becoming Human o Evelleen Richards, Darwin and the Descent of Woman o James Eli Adams, Woman Red in Tooth and Claw * EVOLUTION AND OTHER DISCIPLINES * o Edward O. Wilson, [On Consilience] o Randolph H. Nesse and George C. Williams, Evolution and the Origin of Disease o Steven Pinker, How the Mind Works o Steve Jones, The Set within the Skull * Part VII: Darwinian Influences in Philosophy and Ethics * John Dewey, The Influence of Darwin on Philosophy * Daniel C. Dennett, Darwin’s Dangerous Idea: Natural Selection as an Algorithmic Process * Michael Ruse Darwinian Epistemology * Thomas Henry Huxley, Evolution and Ethics * Julian Huxley, Evolutionary Ethics * Michael Ruse and Edward O. Wilson, The Evolution of Ethics * Frans de Waal, Good Natured: The Origin of Right and Wrong in Humans and Other Animals * Matt Ridley, The Origins of Virtue * Part VIII: Evolutionary Theory and Religious Theory * MAINSTREAM RELIGIOUS SUPPORT FOR EVOLUTION * o Pope John Paul II, Message to the Pontifical Academy of Sciences o Central Conference of American Rabbis, On Creationism in School Textbooks o United Presbyterian Church in the U.S.A., Evolution and Creationsim o The Lutheran World Federation, [Statement on Evolution] o The General Convention of the Episcopal Church, Resolution on Evolutionism and Creationism o Unitariuan Universalist Association, Resolution Opposing "Scientific Creationism" * FUNDAMENTALIST CREATIONISM * o Eugene C. Scott, Antievolution and Creationism in the United States o The Scopes Trial o Thomas McIver, Orthodox Jewish Creationists o Harun Yahya, [Islamic Creationism] o Seami Srila Prabhupada, [A Hare Krishna on Darwinian Evolution] o Institute for Creation Research, Tenets of Creationism o Henry M. Morris, Scientific Creationism o Thomas J. Wheeler, Review of Morris o Richard D. Sjolund and Betty McCollister, Evolution at the Grass Roots o Richard D. Sjolund, [Creationism versus Biotechnology] o Betty McCollister, [The Politics of Creationism] o Molleen Matsumara, What Do Christians Really Believe about Evolution? o National Center for Science Education, Seven Significant Court Decisions Regarding Evolution/Creation Issues * PERSONAL INCREDULITY AND ANTIEVOLUTIONISM * o Richard Dawkins, [The Argument from Personal Incredulity] o Phillip E. Johnson, Darwin on Trial o Eugenie C. Scott, Review of Johnson o Michael Behe, Darwin’s Black Box o Robert Dorit, Review of Behe o Michael Ruse, Darwin’s New Critics on Trial * SCIENTISTS’ OPPOSITION TO CREATIONISM * o American Association for the Advancement of Science, Forced Teaching of Creationist Beliefs in Public School Science Education o American Institute of Biological Sciences, Resolution Oposing Creationism in Science Courses o National Association of Biology Teachers, Statement on Teaching Evolution o National Academy of Sciences, Frequently Asked Questions about Evolution and the Nature of Science * FUNDAMENTALIST CREATIONISM AND THE VALUE OF SATIRE * o Michael Shermer, Genesis Revisted: A Scientific Creation Story o Philip Appleman, Darwin’s Ark * Part IX: Darwin and the Literary Mind * DARWIN’S LITERARY SENSIBILITY * o Charles Darwin, Autobiography o L. Robert Stevens, Darwin’s Humane Reading o George Levine, Darwin and Pain: Why Science Made Shakespeare Nauseating o Gillian Beer, Darwin’s Plots * DARWIN’S INFLUENCE ON LITERATURE * o Lionel Stevenson, Darwin among the Poets o George Levine, Darwin among the Novelists o Joseph Wood Krutch, The Tragic Fallacy o Herbert J. Muller, Modern Tragedy o Philip Appleman, Darwin-Sightings in Recent Literature. (shrink)

Richard Cross provides the first full study of Duns Scotus's theory of cognition, examining his account of the processes involved in cognition, from sensation, through intuition and abstraction, to conceptual thought. Cross places Scotus's thought clearly within the context of 13th-century study on the mind, and of his intellectual forebears.

Richard Dawkins's classic remains the definitive argument for our modern understanding of evolution.

Richard Price (1723-1791) was an eminent Welsh philosopher and Dissenting Minister. His political pamphlets won him considerable fame in the eighteenth century as a supporter of the American rebels in their struggle for independence, and for the enthusiasm with which he greeted the opening events of the French Revolution. It was this enthusiasm that provoked Edmund Burke into writing "Reflections on the Revolution of France." Price is noteworthy as a defender of freedom of thought (especially on religious matters), as (...) a proponent of parliamentary reform, and as an advocate of a minimalist conception of government. He espoused the doctrine of natural rights and the principle of self-government. This book is a collection of Price's most important pamphlets of the period 1759-1789, and is accompanied by a comprehensive introduction putting Price's work in context, complete bibliographical material, a chronology, and bibliographic notes on persons mentioned in the texts. (shrink)

RICHARD RORTY has written one of the most important and challenging books to be published by an American philosopher in the past few decades. Some will find it a deeply disturbing book while others will find it liberating and exhilarating—both, as we shall see, may be right and wrong. Not since James and Dewey have we had such a devastating critique of professional philosophy. But unlike James and Dewey, who thought that once the sterility and artificiality of professional—and indeed (...) much of modern philosophy since Descartes—had been exposed, there was an important job for philosophers to do; Rorty leaves us in a much more ambiguous and unsettled state. I will examine Rorty’s book from a variety of perspectives, beginning with a general overview and then moving to more finely meshed descriptions. My aim is not only to illuminate the power and subtlety of Rorty’s analysis and to show its inner unity, but to locate basic issues that are left unresolved. (shrink)

Richard Allen; Emotion, Religion and Education, Journal of Philosophy of Education, Volume 7, Issue 2, 30 May 2006, Pages 181–194, https://doi.org/10.1111/j.146.

This article explores the ways in which Janelle Monáe’s audiovisual performances leverage black female flesh to trouble historically constituted imaginings of ‘the human’. Tracking Monáe’s audiovisual aesthetics across ‘Many moons’ and Dirty Computer, I interrogate acoustic and imagistic resonances that recall the repeating horrors of bondage, and which also constitute performative ‘fabulations’ whereby freedoms that are engendered specifically by and within black female flesh might be imagined. Monáe ‘enfleshes’ the cyborg to critique cyberfeminist and posthumanist theories that advocate for material (...) dissolution as a framework for liberation, as well as to trouble black women’s historical relationships to the category ‘human’. Rather than understand Dirty Computer as a (re)turn to the human Monáe, I contend that the project extends the artist’s longstanding critical engagement with the black female cyborg and black sonic cyberfeminist liberatory potentialities. (shrink)

In this new work, Richard T. W. Arthur offers a fresh interpretation of Leibniz's theory of substance. He goes against a long trend of idealistic interpretations of Leibniz's thought by instead taking seriously Leibniz's claim of introducing monads to solve the problem of the composition of matter and motion.

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

On the basis of the Weber, Jaspers, and Arendt style ‘ideal types’ of the manager as Eichmann, Richard III, and Faust it is explained how under strong organizational pressures to obey orders and further organizational ends, different types of managers cooperate with organization behavior that harms people. On the basis of Arendt's and Tillich's action philosophies, the manager as Institution Citizen with the courage to be both as oneself and as a part is presented as alternative, contrast, and resistance (...) model to the other ‘ideal types’, particularly to the Eichmann ‘ideal type’. (shrink)

Much of the history of physics at the beginning of the twentieth century has been written with a sharp focus on a few key figures and a handful of notable events. Einstein’s Generation offers a distinctive new approach to the origins of modern physics by exploring both the material culture that stimulated relativity and the reaction of Einstein’s colleagues to his pioneering work. Richard Staley weaves together the diverse strands of experimental and theoretical physics, commercial instrument making, and the (...) sociology of physics around 1900 to present a complete view of the collective efforts of a group whose work helped set the stage for Einstein’s revolutionary theories and the transition from classical to modern physics that followed. Collecting papers, talks, catalogues, conferences, and correspondence, Staley juxtaposes scientists’ views of relativity at the time to modern understandings of its history. Ultimately, Einstein’s Generation tells the story of a group of individuals whose work engendered some of the most significant advances of the twentieth century—and challenges our celebration of Einstein’s era above all others. (shrink)

Richard Popkin has assembled 63 leading scholars to forge a highly approachable chronological account of the development of Western philosophical traditions. From Plato to Wittgenstein and from Aquinas to Heidegger, this volume provides lively, in-depth, and up-to-date historical analysis of all the key figures, schools, and movements of Western philosophy. The Columbia History significantly broadens the scope of Western philosophy to reveal the influence of Middle Eastern and Asian thought, the vital contributions of Jewish and Islamic philosophers, and the (...) role of women within the tradition. Along with a wealth of new scholarship, recently discovered works in 17th- and 18th-century philosophy are considered, such as previously unpublished works by Locke that inspire a new assessment of the evolution of his ideas. Popkin also emphasizes schools and developments that have traditionally been overlooked. Sections on Aristotle and Plato are followed by a detailed presentation on Hellenic philosophy and its influence on the modern developments of materialism and scepticism. A chapter has been dedicated to Jewish and Moslem philosophical development during the Middle Ages, focusing on the critical role of figures such as Averroës and Moses Maimonides in introducing Christian thinkers to classical philosophy. Another chapter considers Renaissance philosophy and its seminal influence on the development of modern humanism and science. Turning to the modern era, contributors consider the importance of the Kaballah to Spinoza, Leibniz, and Newton and the influence of popular philosophers like Moses Mendelssohn upon the work of Kant. This volume gives equal attention to both sides of the current rift in philosophy between continental and analytic schools, charting the development of each right up to the end of the 20th century. Each chapter includes an introductory essay, and Popkin provides notes that draw connections among the separate articles. The rich bibliographic information and the indexes of names and terms make the volume a valuable resource. Combining a broad scope and penetrating analysis with a keen sense of what is relevant for the modern reader, _The Columbia History of Western Philosophy_ will prove an accessible introduction for students and an informative overview for general readers. (shrink)

Owen Barfield: a conversation with Shirley Sugerman -- To Owen Barfield -- Cecil Harwood: Owen Barfield -- Norman O. Brown: on interpretation -- Howard Nemerov: exceptions and rules -- Studies in polarity -- David Bohm: imagination, fancy, insight, and reason in the process of thought -- R.H. Barfield: darwinism -- Richard A. Hocks: "novelty" in polarity to "the most admitted truths" : tradition and the individual talent in S.T. Coleridge and T.S. Eliot -- Robert O. Preyer: the burden of (...) culture and the dialectic of literature -- R.K. Meiners: on modern poetry, poetic consciousness, and the madness of poets -- Paul Piehler: Milton's iconoclasm -- Colin Hardie: two descents into the underworld -- Lionel Adey: enjoyment, contemplation, and hierarchy in Hamlet -- G.B. Tennyson: etymology and meaning -- R.J. Reilly: a note on Barfield, romanticism, and time -- Shirley Sugerman: an "essay" on Coleridge on imagination -- Clyde S. Kilby: the ugly and the evil -- Mary Caroline Richards: the vessel and the fire -- The works of Owen Barfield -- G.B. Tennyson: a bibliography of the works of Owen Barfield. (shrink)

Used in China as a book of divination and source of wisdom for more than three thousand years, the _I Ching_ has been taken up by millions of English-language speakers in the nineteenth century. The first translation ever to appear in English that includes one of the major Chinese philosophical commentaries, the Columbia _I Ching_ presents the classic book of changes for the world today. Richard Lynn's introduction to this new translation explains the organization of _The Classic of Changes_ (...) through the history of its various parts, and describes how the text was and still is used as a manual of divination with both the stalk and coin methods. For the fortune-telling novice, he provides a chart of trigrams and hexagrams; an index of terms, names, and concepts; and a glossary and bibliography. Lynn presents for the first time in English the fascinating commentary on the _I Ching_ written by Wang Bi, who was the main interpreter of the work for some seven hundred years. Wang Bi interpreted the _I Ching_ as a book of moral and political wisdom, arguing that the text should not be read literally, but rather as an expression of abstract ideas. Lynn places Wang Bi's commentary in historical context. For beginners and devotees alike, Columbia's _I Ching_ is the clearest and most authoritative translation of this ancient classic. (shrink)

In his “Méthode nouvelle,” an anonymous article in the Bibliothèque universelle of 1686, John Locke described his way of collecting excerpts in notebooks and retrieving relevant entries. The well‐known practice of entering textual passages in commonplace books sits uneasily with Locke's criticism of received opinion and authority. Is it possible that he used any of these notes to think with? I suggest that the conditions for this were provided by Locke's interactions with some of his notes, including those which recorded (...) observations, testimonies and experiments. As well as labelling excerpts and other notes with topical Titles, Locke sometimes added precise bibliographical citations, transferred material across notebooks, interpolated his own signed reflections and queries, and (eventually) dated entries. (shrink)

This is an edited, abridged, and revised version of a chapter written by Richard Kearney which will appear in his forthcoming book Touch: Recovering Our Most Vital Sense to be published by Columbia University Press in 2021. The chapter in the book contains many extensions, footnotes, and references that do not appear in this paper. Many thanks to Professor Kearney for his permission to print a version of this chapter in the Journal of Applied Hermeneutics. Keywords: touch, trauma, healing, (...) carnal hermeneutics. (shrink)

Rights might be regarded as an objectionable and even a dangerous feature of moral, political, and legal arrangements. It is an element of all types of rights that Able's having right X entails requirements or prohibitions for Baker. These restrictions hold against Baker at Able's discretion, that is unless Able excuses Baker from respecting them. Nor are the restrictions merely decorative. We must presume that they are established because of the expectation that Baker would otherwise be disposed to interfere with (...) the action Ms. Able's right warrants her in taking. Thus as writers as early as Spinoza have stressed, rights are powers – one might even say weapons – that Able may use against Baker. Of course, as a practical matter these “weapons” are frequently ineffective. Ms. Baker may willfully ignore her obligations and prevent Ms. Able from enjoying her entitlements. But such occurrences, as common and as unfortunate as they are, do not materially ease the task of justifying rights. It is only insofar as rights are effective, and hence only insofar as anyone will have reason to defend them, that they are weapons in Able's hands. (shrink)

Surveys over the last twenty years have seen an ever-growing number of Americans disclaim religious affiliations and instead check the "none" box. In the first sociological exploration of organized secularism in America, Richard Cimino and Christopher Smith show how one segment of these "nones" have created a new, cohesive atheist identity through activism and the creation of communities. According to Cimino and Smith, the new upsurge of atheists is a reaction to the revival of religious fervor in American politics (...) since 1980. Feeling overlooked and underrepresented in the public sphere, atheists have employed a wide variety of strategies-some evangelical, some based on identity politics-to defend and assert themselves against their ideological opponents. These strategies include building and maintaining communities, despite the absence of the kinds of shared rituals, texts, and laws that help to sustain organized religions.Drawing on in-depth interviews with self-identified atheist, secularist, and humanist leaders and activists, as well as extensive observations and analysis of secular gatherings and media, Cimino and Smith illustrate how atheists organize and align themselves toward common goals, and how media-particularly web-based media-have proven invaluable in connecting atheists to one another and in creating a powerful virtual community. Cimino and Smith suggest that secularists rely not only on the Internet for community-building, but on their own new forms of ritual.This groundbreaking study will be essential reading for anyone seeking to understand the growing atheist movement in America. (shrink)

Friedrich Schleiermacher's groundbreaking work in theology and philosophy was forged in the cultural ferment of Berlin at the convergence of the Enlightenment and Romanticism. The three sections of this book include illuminating sketches of Schleiermacher's relationship to contemporaries, his work as public theologian as well as the formation and impact of his two most famous books, On Religion: Speeches to its Cultured Despisers and The Christian Faith. Richard Crouter examines Schleiermacher's stance regarding the status of doctrine, Church and political (...) authority, and the place of theology among the academic disciplines. Dedicated to the Protestant Church in the line of Calvin, Schleiermacher was equally a man of the university who brought the highest standards of rationality, linguistic sensitivity and a sense of history to bear upon religion. (shrink)

Richard Jeffrey, Michael Hendrickson; XIV*—Probabilizing Pathology, Proceedings of the Aristotelian Society, Volume 89, Issue 1, 1 June 1989, Pages 211–226, htt.

Richard H. Bell analyzes the social and political thought of Simone Weil, paying particular attention to Weil's concept of justice as compassion. Bell describes the ways in which Weil's concept of justice stands in contrast with liberal 'rights-based' views of justice, and focuses upon central aspects of her thought, including 'attention,' human suffering and 'affliction,' and the importance of 'a spiritual way of life' in reshaping the individual's role in civic life.

It is one sign of the lack of understanding of the value of the humanities, to educational research and inquiry as well as to our world more widely, that such justifications of them as are offered frequently take a crudely instrumental form. The humanities are welcomed insofar as they are beneficial to the economy, for example, or play a therapeutic role in people's physical or mental well-being. In higher education in the UK, they are marginalized for similar reasons, on the (...) grounds that they neither appeal to the lucrative overseas student market nor constitute a significant source of grant income from research councils, industry, or other funding sources. While their place in educational research is still defended in many quarters, the increasing demand that research should have “impact” can leave the humanities appearing ineffectual. Furthermore, the very idea of research is widely taken to mandate empiricist and “scientific” approaches. Although there are no easy solutions to this state of things, Richard Smith argues in this essay that those of us who value the humanities in and for themselves might adopt two approaches in particular: to pursue vigilant criticism of the rampant instrumentalism and scientism of our time, and to emphasize the importance of that distinctive feature of humane inquiry: interpretation. (shrink)

There is a puzzle that is faced by every philosophical account of rational belief, rational strategy, rational planning or whatever. I describe this puzzle, examine Richard Fumerton’s proposed solution to it and then go on to sketch my own preferred solution.

Richard Wagner (1813-1883) zählt zu den herausragendsten Komponisten der Welt überhaupt und gilt aufgrund seiner musikalischen Interpretationen als ein Erneuerer der europäischen Musiklandschaft. Er fühlte eine enge Verbindung zu Ludwig van Beethoven, da eben sein Werk für die Entscheidung verantwortlich war, sich der Musik zuzuwenden. Das vorliegende Werk ist eine Hommage an den deutschen Künstler und erschien zu seinem einhundersten Geburtsjahr 1870. Es handelt sich hierbei um die englische Übersetzung der deutschen Originalfassung.

In this book, Richard A. Jones highlights the importance of Ludwig Wittgenstein’s work for contemporary African American and Africana philosophy. The Black Book investigates the epistemic, linguistic, and political grounds from which inspiration might be drawn.

Aucun manuel de philosophie ni aucune encyclopédie ne nous avait procuré jusqu'ici un dictionnaire exhaustif des philosophes de l'Antiquité. Exhaustivité dans la liste des auteurs, connus ou pas, mais aussi dans la présentation des sources, puisque Richard Goulet et son équipe mobilisent textes littéraires grecs, documents iconographiques, papyrologiques, épigraphiques, sources arméniennes, géorgiennes, hébraïques, syriaques et arabes. Des présocratiques aux néoplatoniciens du VIe siècle, d'Athènes à Byzance, de Rome à Alexandrie, ce chef-d'œuvre d'érudition offre un regard vraiment universel sur les (...) auteurs et les systèmes de pensée qui continuent d'irradier jusqu'à nous. Ce nouveau volume, particulièrement important, contient entre autres les notices Parménide, Philon d'Alexandrie, Philostrate, Photios, Platon... et analyse la survie de leurs œuvres philosophiques dans la littérature du christianisme ou de l'Islam. Un travail colossal et internationalement reconnu, qui honore la tradition scientifique française. (shrink)

This book offers a unique interpretation of tragic literature in the Western tradition, deploying the method and style of Analytic philosophy. Richard Gaskin argues that tragic literature seeks to offer moral and linguistic redress for suffering. Moral redress involves the balancing of a protagonist's suffering with guilt : Gaskin contends that, to a much greater extent than has been recognized by recent critics, traditional tragedy represents suffering as incurred by avoidable and culpable mistakes of a cognitive nature. Moral redress (...) operates in the first instance at the level of the individual agent. Linguistic redress, by contrast, operates at a higher level of generality, namely at the level of the community: its fundamental motor is the sheer expressibility of suffering in words. Against many writers on tragedy, Gaskin argues that language is competent to express pain and suffering, and that tragic literature has that expression as one its principal purposes. The definition of tragic literature in this book is expanded to include more than stage drama: the treatment stretches from the Classical and Medieval periods through to the early twentieth century. There is a special focus on Sophocles, but Gaskin takes account of most other major tragic authors in the European tradition, including Homer, Aeschylus, Euripides, Virgil, Seneca, Chaucer, Marlowe, Shakespeare, Corneille, Racine, Lessing, Goethe, Schiller, Kleist, Büchner, Ibsen, Hardy, Kafka, and Mann; lesser-known areas, such as Renaissance neo-Latin tragedy, are also covered. Among theorists of tragedy, Gaskin concentrates on Aristotle and Bradley; but the contributions of numerous contemporary commentators are also assessed. Tragedy and Redress in Western Literature: A Philosophical Perspective offers a new and genuinely interdisciplinary perspective on tragedy that will be of considerable interest both to philosophers of literature and to literary critics. (shrink)