This article develops a sociological theory of ambivalence to explain several puzzling and contradictory ethical attitudes of business people: (1) a simultaneous disposition to comparatively more self-interested and more charitable behavior than many other occupational groups and (2) a moderate level of receptiveness to inculcation of moral principles through social channels such as higher education. We test the theory by comparing the way that business students rate the ethical acceptability of various ethically challenging scenarios with the way that criminal justice (...) students rate these same scenarios. We also explore the malleability of ethical views by measuring differences between the responses of sophomores and seniors. The data generally support hypotheses based on a theory of ambivalence. At the same time, however, we also report on findings that suggest alternative explanations to ambivalence. (shrink)

This report by the WHO Consultative Group on Equity and Universal Health Coverage addresses how countries can make fair progress towards the goal of universal coverage. It explains the relevant tradeoffs between different desirable ends and offers guidance on how to make these tradeoffs.

La cobertura universal de salud está en el centro de la acción actual para fortalecer los sistemas de salud y mejorar el nivel y la distribución de la salud y los servicios de salud. Este documento es el informe fi nal del Grupo Consultivo de la OMS sobre la Equidad y Cobertura Universal de Salud. Aquí se abordan los temas clave de la justicia (fairness) y la equidad que surgen en el camino hacia la cobertura universal de salud. Por lo (...) tanto, el informe es pertinente para cada agente que infl uye en ese camino y en particular para los gobiernos, ya que se encargan de supervisar y guiar el progreso hacia la cobertura universal de salud. (shrink)

This report from the WHO Consultative Group on Equity and Universal Health Coverage offers advice on how to make progress fairly towards universal health coverage.

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

.As editor of the National Anti-Slavery Standard in the early 1840s, Lydia Maria Child was responsible for keeping the abolitionist movement in the United States informed of relevant news. She also used her editorial position to philosophize. Her column entitled “Letters from New York” is particularly philosophical, including considerations of infinity, free will, time, nature, art, and history. She especially turned to German philosophers and intellectuals such as Kant, Schiller, Bettina von Arnim, Karoline von Günderrode, Jean Paul, Herder, and (...) Hegel in an attempt to guide her readers to a rejection of slavery for the right philosophical reasons. I consider the influence of German philosophy on three particular themes in her writings: a Romantic-Spinozistic view of humans and nature; a Kantian conception of conscience; and a Hegelian description of the philosophy of history. (shrink)

As editor of the National Anti-Slavery Standard in the early 1840s, Lydia Maria Child was responsible for keeping the abolitionist movement in the United States informed of relevant news. She also...

Equality is a key concept in our moral and political vocabulary. There is wide agreement on its instrumental value and its favourable impact on many aspects of society, but less certainty over whether it has a non-instrumental or intrinsic value that can be demonstrated. In this project, Shlomi Segall explores and defends the view that it does. He argues that the value of equality is not reducible to a concern we might have for the worse off, or to ensuring that (...) individuals do not fall into poverty and destitution; instead he claims that undeserved inequalities, wherever and whenever we might find them, are bad in themselves. Assessing the strength of competing accounts, such as sufficientarianism and prioritarianism, he brings together for the first time discussions of the moral value of equality with luck- or responsibility-sensitive accounts of distributive justice. His book will interest readers in political and moral philosophy. (shrink)

Many contemporary philosophers endorse the Humean-Lewisian Denial of Absolutely Necessary Connections (‘DANC’). Among those philosophers, many deny all or part of the Humean-Lewisian package of views about causation and laws. I argue that they maintain an inconsistent set of views. DANC entails that (1) causal properties and relations are, with a few possible exceptions, always extrinsic to their bearers, (2) nomic properties and relations are, with a few possible exceptions, always extrinsic to their bearers, and (3) causal and nomic properties (...) and relations globally supervene on non-causal, non-nomic properties and relations. Hence, one can’t be a consistent Half-Hearted Humean. Consistency demands giving up the core Humean thesis or facing up to its consequences. The upshot is that we face a stark choice: either there are absolutely necessary connections between distinct existents or it’s "just one damn thing after another.". (shrink)

_An exploration of philosophical and religious ideas about humor in modern philosophy and their secular implications._.

Current textbooks in formal semantics are all versions of, or introductions to, the same paradigm in semantic theory: Montague Grammar. Knowledge of Meaning is based on different assumptions and a different history. It provides the only introduction to truth- theoretic semantics for natural languages, fully integrating semantic theory into the modern Chomskyan program in linguistic theory and connecting linguistic semantics to research elsewhere in cognitive psychology and philosophy. As such, it better fits into a modern graduate or undergraduate program in (...) linguistics, cognitive science, or philosophy. Furthermore, since the technical tools it employs are much simpler to teach and to master, Knowledge of Meaning can be taught by someone who is not primarily a semanticist. Linguistic semantics cannot be studied as a stand-alone subject but only as part of cognitive psychology, the authors assert. It is the study of a particular human cognitive competence governing the meanings of words and phrases. Larson and Segal argue that speakers have unconscious knowledge of the semantic rules of their language, and they present concrete, empirically motivated proposals about a formal theory of this competence based on the work of Alfred Tarski and Donald Davidson. The theory is extended to a wide range of constructions occurring in natural language, including predicates, proper nouns, pronouns and demonstratives, quantifiers, definite descriptions, anaphoric expressions, clausal complements, and adverbs. Knowledge of Meaning gives equal weight to philosophical, empirical, and formal discussions. It addresses not only the empirical issues of linguistic semantics but also its fundamental conceptual questions, including the relation of truth to meaning and the methodology of semantic theorizing. Numerous exercises are included in the book. (shrink)

What is the origin of the concept of a law of nature? How much does it owe to theology and metaphysics? To what extent do the laws of nature permit contingency? Are there exceptions to the laws of nature? Is it possible to give a reductive analysis of lawhood, or is it a primitive? -/- Twelve brand-new essays by an international team of leading philosophers take up these and other central questions on the laws of nature, whilst also examining some (...) of the most important intuitions and assumptions that have guided the debate over laws of nature since the concept's invention in the seventeenth century. -/- Laws of Nature spans the history of philosophy and of science, contemporary metaphysics, and contemporary philosophy of science. Contents: 1. Intuitions and Assumptions in the Debate over Laws of Nature, Walter Ott and Lydia Patton 2. Early Modern Roots of the Philosophical Concept of a Law of Nature, Helen Hattab 3. Laws of Nature and the Divine Order of Things: Descartes and Newton on Truth in Natural Philosophy, Mary Domski 4. Leges sive natura: Bacon, Spinoza, and a Forgotten Concept of Law, Walter Ott 5. Laws and Powers in the Frame of Nature, Stathis Psillos 6. Laws and Ideal Unity, Angela Breitenbach 7. Becoming Humean, John W. Carroll 8. A Perspectivalist Better Best System Account of Lawhood, Michela Massimi 9. Laws: An Invariance Based Account, James Woodward 10. How the Explanations of Natural Laws Make Some Reducible Physical Properties Natural and Explanatorily Powerful, Marc Lange 11. Laws and their Exceptions, Stephen Mumford 12. Are laws of nature consistent with contingency?, Nancy Cartwright and Pedro Merlussi. (shrink)

Psillos, Kitcher, and Leplin have defended convergent scientific realism against the pessimistic meta-induction by arguing for the divide et impera strategy. I argue that DEI faces a problem more serious than the pessimistic meta-induction: the problem of accretion. When empirically successful theories and principles are combined, they may no longer make successful predictions or allow for accurate calculations, or the combination otherwise may be an empirical failure. The shift from classical mechanics to the new quantum theory does not reflect the (...) discarding of “idle wheels.” Instead, scientists had to contend with new principles that made classical calculations difficult or impossible, and new results that were inconsistent with classical theorems, and that suggested a new way of conceiving of atomic dynamics. In this shift, reference to atoms and to electrons was preserved, but the underlying causal explanations and descriptions of atoms and electrons changed. I propose that the emphasis on accurate description of causal agents as a virtue of background theory be replaced with Ruetsche’s advocacy of pragmatic, modal resourcefulness. (shrink)

What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the (...) normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists. (shrink)

How should human beings and robots interact with one another? Nyholm’s answer to this question is given below in the form of a conditional: If a robot looks or behaves like an animal or a human being then we should treat them with a degree of moral consideration (p. 201). Although this is not a novel claim in the literature on ai ethics, what is new is the reason Nyholm gives to support this claim; we should treat robots that look (...) like human or non-human animals with a certain degree of moral restraint out of respect for human beings or other beings with moral status. Although Danaher or Coeckelbergh also claim that we should treat robots with a degree of moral consideration, the reasons they give for making this claim focus on duties or rights attaching to the robot themselves (see J. Danaher, “Welcoming Robots into the Moral Circle: A Defence of Ethical Behaviourism,” Science and Engineering Ethics, (2019): 1–27 or M. Coeckelbergh, “Moral Appearances: Emotions, Robots and Human Morality,” Ethics and Information Technology, 12(3) (2010): 235–241.). Nyholm disagrees with this type of reasoning and claims that until robots develop a human or animal like inner life, we have no direct duties to the robots themselves. Rather, it is out of respect for human beings or other beings with moral status that we should treat some robots with moral restraint. Gerdes, similarly inspired by Kant, focuses on the human agent to argue that we should avoid treating robots in cruel ways because this may corrupt the human agent’s character (see A. Gerdes, “The Issue of Moral Consideration in Robot Ethics,” siggas Computers and Society, 45(3) (2015): 274–279.). Nyholm’s contribution here is to extend this view such that the corruption or harm being done is against the humanity in all of us. (shrink)

This book offers a radical reappraisal of the nature and significance of Wittgenstein’s thought about ethics from a variety of different perspectives. The book includes essays on Wittgenstein’s early remarks on ethics in the _Tractatus Logico-Philosophicus,_ on his 1929 "Lecture on Ethics", and on various aspects of Wittgenstein’s later views on ethics in the _Philosophical Investigations_ and elsewhere. Together, the essays in this volume provide a comprehensive assessment of Wittgenstein’s moral thought throughout his work, its continuity and development between his (...) early and later work, and its connections with other aspects of his thought. Featuring fourteen original contributions written by internationally renowned Wittgenstein scholars, _Wittgenstein’s Moral Thought _opens up a new understanding of ethics that diverges from prevailing views prominent in contemporary discussions of the subject. (shrink)

George Boole emerged from the British tradition of the “New Analytic”, known for the view that the laws of logic are laws of thought. Logicians in the New Analytic tradition were influenced by the work of Immanuel Kant, and by the German logicians Wilhelm Traugott Krug and Wilhelm Esser, among others. In his 1854 work An Investigation of the Laws of Thought on Which are Founded the Mathematical Theories of Logic and Probabilities, Boole argues that the laws of thought acquire (...) normative force when constrained to mathematical reasoning. Boole’s motivation is, first, to address issues in the foundations of mathematics, including the relationship between arithmetic and algebra, and the study and application of differential equations (Durand-Richard, van Evra, Panteki). Second, Boole intended to derive the laws of logic from the laws of the operation of the human mind, and to show that these laws were valid of algebra and of logic both, when applied to a restricted domain. Boole’s thorough and flexible work in these areas influenced the development of model theory (see Hodges, forthcoming), and has much in common with contemporary inferentialist approaches to logic (found in, e.g., Peregrin and Resnik). (shrink)

Ott (2009) identifies two kinds of philosophical theories about laws: top-down, and bottom-up. An influential top-down reading, exemplified by Ernst Cassirer, emphasized the ‘mere form of law’. Recent bottom-up accounts emphasize the mind-independent natures of objects as the basis of laws of nature. Stang and Pollok in turn focus on the transcendental idealist elements of Kant’s theory of matter, which leads to the question: is the essence of Kantian matter that it obeys the form of law? I argue that Kant (...) has an independent theory of matter in the Metaphysical Foundations of Natural Science, one that gives what Kant himself calls a ‘real definition’ of matter as a theory-independent (if not mind-independent) entity. I argue that this matter theory underpins physical arguments about inertia and impenetrability, which resemble Einstein’s arguments about the unification of fields in general relativity. (shrink)

In this paper, building on recent and longstanding work (Warren 2001, Friedman 2013, Glezer 2018), I investigate how the account of the essences or natures of material substances in the Metaphysical Foundations is related to Kant’s demand for the completeness of the system of nature. We must ascribe causal powers to material substances for the properties of those substances to be observable and knowable. But defining those causal powers requires admitting laws of nature, taken as axioms or principles of natural (...) science, which govern anything that can be constructed mathematically or “given as an object of experience” (MAN, 4:474–75). Presenting a complete system of nature requires adumbrating the properties of material substances that can be objects of experience. But it is not possible to show how those properties are involved in explanations of the phenomena without involving the laws that govern interactions between material substances. For Kant, or so I will argue, it is not possible to account for the natures of things, or for the features of laws of nature, independently of each other. The paper will substantiate the Finitist Account (FA) of Kant on laws. The Finitist Account has it that modal judgments about the possible proofs that can be made, or interactions that can be explained, are (1) based on concrete intuitive reasoning and motivated by the desire to avoid appeal to the actual infinite, (2) grounded in finite decision procedures, which are (3) based on reliable systems of axioms or rules of inference. (shrink)

This essay interrogates the motives of eighteenth-century European naturalists to alternately show and hide their laboring-class fossil suppliers. Focusing on rare moments of heightened visibility, I ask why gentlemen naturalists occasionally, deliberately, and even performatively made visible the marginalized science workers on whom they crucially depended but more typically ignored or effaced. Comparing archival fragments from elite works of natural history across a considerable stretch of time and space, including Italy, France, Switzerland, Britain, Ireland, Germany, Spain, and French, Spanish, and (...) British America, this essay sketches the contours of a disparate group of people I term ‘earth workers’: laborers of very low social rank, such as quarrymen, shepherds, ditch-diggers, and fieldworkers, whose daily labor in and on the earth enabled the discovery of subterranean specimens. At the same time, archival traces of laboring lives ultimately reveal more about the naturalists who created them than they do about the marginalized laborers whose lives they faintly record. Cultural norms of elite masculinity and scholarly self-presentation in the Republic of Letters help us to understand why some eighteenth-century naturalists felt they had to publicly disavow a form of labor that would come to be recognized as a crucial and skilled part of scientific fieldwork in the modern era. Compared to other kinds of invisible labor that historians of science have brought into view, the social meaning of earth work rendered it uniquely visible in some ways and uniquely invisible in others. (shrink)

Two questions should be considered when assessing the Kantian dimensions of Kuhn’s thought. First, was Kuhn himself a Kantian? Second, did Kuhn have an influence on later Kantians and neo-Kantians? Kuhn mentioned Kant as an inspiration, and his focus on explanatory frameworks and on the conditions of knowledge appear Kantian. But Kuhn’s emphasis on learning; on activities of symbolization; on paradigms as practical, not just theoretical; and on the social and community aspects of scientific research as constitutive of scientific reasoning, (...) are all outside the Kantian perspective. Kuhn’s admiration for Kant is tempered by his desire to understand the processes of learning, of initiation into a scientific community, of experimentation using instruments, and of persuasion, drawing on the work of familiar influences, including Piaget, Koyré, and Wittgenstein, and less familiar ones, including Langer, Demos, and Frank. Both Kuhn and Kant were interested in the question: what is the status of science, and what is the role of the scientist in its development and justification? But Kuhn presents science in a much more messy, historically contingent, and socially charged way than Kant does. The paper’s conclusion evaluates Kuhn’s reception among researchers including Richardson and Friedman, assessing the prospects for future work. (shrink)

Classic inductive skepticism–the epistemological claim that we have no good reason to believe that the unobserved resembles the observed–is plausibly everyone’s lot, whether or not they embrace Hume’s metaphysical claim that distinct existents are “entirely loose and separate”. But contemporary advocates of a Humean metaphysic accept a metaphysical claim stronger than Hume’s own. I argue that their view plausibly gives rise to a radical inductive skepticism–according to which we are downright irrational in believing as we do about the unobserved–that we (...) don’t otherwise have reason to accept. The Metaphysical Neo-Humean is in an epistemological quagmire all her own. (shrink)

The twenty-five articles collected for this anthology display a wide range of interpretations to central themes in Spinoza's philosophy. The reader is presented with a living debate engaged by first-rate scholars, who come to grips with the ideas of a philosopher seen as one of the few founders of the modern mind. The book displays a panoramic picture of Spinoza scholarship over the last three decades, while providing key insights for further inquiry. Each paper included treats its subject as a (...) viable philosophical issue, critically analyzing, rather than simply portraying the Spinozistic ideas discussed. This helps the reader see through the intricacies of Spinoza's language and idiosyncratic terminology to his powerful and original treatment of enduring issues, spanning from metaphysics through psychology to ethics and questions of human existence. (shrink)

Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?

This book offers an analysis of humor, comedy, and laughter as philosophical topics in the 19th Century. It traces the introduction of humor as a new aesthetic category inspired by Laurence Sterne’s "Tristram Shandy" and shows Sterne’s deep influence on German aesthetic theorists of this period. Through differentiating humor from comedy, the book suggests important distinctions within the aesthetic philosophies of G.W.F. Hegel, Karl Solger, and Jean Paul Richter. The book links Kant’s underdeveloped incongruity theory of laughter to Schopenhauer’s more (...) complete account and identifies humor’s place in the pessimistic philosophy of Julius Bahnsen. It considers how caricature functioned at the intersection of politics, aesthetics, and ethics in Karl Rosenkranz’s work, and how Kierkegaard and Nietzsche made humor central not only to their philosophical content but also to its style. The book concludes with an explication of French philosopher Henri Bergson’s claim that laughter is a response to mechanical inelasticity. (shrink)

This book investigates the role of humor in the good life, specifically as discussed by three prominent French intellectuals who were influenced by Nietzsche's thought: Georges Bataille, Gilles Deleuze, and Clément Rosset. Lydia Amir begins by discussing Nietzsche's reception in France, and she explains why and how he came to be considered a "philosopher of laughter" in the French academe. Each of the subsequent three chapters focuses on the significance of humor and laughter in the good life as advocated (...) by Bataille, Deleuze, and Rosset. These chapters also explore the complex relationship between the comic and the tragic, and of humor and laughter to irony, satire, and ridicule. The Legacy of Nietzsche's Philosophy of Laughter makes an invaluable contribution to recent interpretive work done on Bataille and Deleuze, and offers further introduction to the relatively understudied Rosset. It illuminates the philosophies of these three thinkers, their connection to Nietzsche, and, overall, the significant role that humor plays in philosophy. (shrink)

Opening -- The structure of man -- The middle ground -- Conversations -- The ten oxherding pictures.

To the extent that Mircea Eliade is concerned with millenarianism he is concerned with it as only an instance of religious phenomena generally and is concerned with its meaning rather than its cause. Yet presupposed in the meaning he finds is a theory of its cause, and that theory is worth examining both because it elucidates Eliade's approach to religion as a whole and because as an explanation of millenarianism it is atypical and even unique.

Originalism as Faith presents a comprehensive history of the originalism debates. It shows how the doctrine is rarely used by the Supreme Court, but is employed by academics, pundits and judges to maintain the mistaken faith that the Court decides cases under the law instead of the Justices' personal values. Tracing the development of the doctrine from the founding to present day, Eric J. Segall shows how originalism is used by judges as a pretext for reaching politically desirable results. The (...) book also presents an accurate description and evaluation of the late Justice Scalia's jurisprudence and shows how he failed to practice the originalism method that he preached. This illuminating work will be of interest to lawyers, law students, undergraduates studying the Court, law professors and anyone else interested in an honest discussion and evaluation of originalism as a theory of constitutional interpretation, a political weapon, and an article of faith. (shrink)

Aspect-seeing, I claim, involves reflection on concepts. It involves letting oneself feel how it would be like to conceptualize something with a certain concept, without committing oneself to this conceptualization. I distinguish between two kinds of aspect-perception: -/- 1. Preparatory: allows us to develop, criticize, and shape concepts. It involves bringing a concept to an object for the purpose of examining what would be the best way to conceptualize it. -/- 2. Non-Preparatory: allows us to express the ingraspability of certain (...) experiences. It involves bringing a concept to an object for the purpose of showing—per impossible—what it would take to properly capture one’s experience. -/- I demonstrate the usefulness of the two kinds of aspect perception in making conceptual judgments, and in making moral and aesthetic judgments. (shrink)

This article characterizes aspect-perception as a distinct form of judgment in Kant's sense: a distinct way in which the mind contacts world and applies concepts. First, aspect-perception involves a mode of thinking about things apart from any established routine of conceptualizing them. It is thus a form of concept application that is essentially reflection about language. Second, this mode of reflection has an experiential, sometimes perceptual, element: in aspect-perception, that is, we experience meanings—bodies of norms. Third, aspect-perception can be “preparatory”: (...) it may help us to decide what linguistic norms to develop and how to conceptualize—make the world thinkable. Fourth, the article discusses the forms of justification for which aspect-perception allows—the necessity and normativity involved in employing this form of judgment. (shrink)

We discuss the challenge to truth-conditional semantics presented by apparent shifts in extension of predicates such as ‘red’. We propose an explicit indexical semantics for ‘red’ and argue that our account is preferable to the alternatives on conceptual and empirical grounds.

Philosophers in the nineteenth century took laughter and its related concepts very seriously. Most philosophers before this period treated laughter as tangential to philosophy’s core concerns, but beginning with Kant’s immediate successors, the family of concepts relating to the laughable—including comedy, wit, irony, and ridicule—took on new significance. They went from describing something derivative about humans to telling us what we, in the most basic sense, are. Well-known philosophers such as Hegel, Schopenhauer, Kierkegaard, and Nietzsche offered substantial treatments of these (...) topics; they were also taken up by lesser-known thinkers such as Rosenkranz, Solger, Jean Paul, Bahnsen, and Bergson. The nineteenth century also saw the introduction of humor in particular as a new and distinct aesthetic category. For several philosophers of this period, humor described nothing less than the relationship between the human and the divine and its implications for how humans should live. It described our awareness of our finitude—our fallibility, our petty concerns, our meaningless obsessions—and the amusement tinged with melancholy this awareness elicits. Despite this wealth of theorizing, the nineteenth century is often neglected in studies of the philosophy of laughter and humor. This essay introduces a volume of articles intended to remedy that neglect. (shrink)

The most extensive descriptions of Gog and Magog in the Hebrew Bible appear in Ezekiel 38–39. At various stages of their political career, both Reagan and Bush have linked Gog and Magog to the bêtes noires of the USA, identifying them either as the ‘communistic and atheistic’ Russia or the ‘evil’ Iraq. Biblical scholars, however, seek to contextualise Gog of Magog in the historical literary setting of the ancient Israelites. Galambush identifies Gog in Ezekiel as a cipher for Nebuchadnezzar, the (...) Babylonian king, who acted as Judah’s oppressor in the 6th century BCE. More recently, Klein concludes that Gog, along with his companions, is ‘eine Personifikation aller Feinde, die Israel im Buch Ezechiel gegenüberstehen’. Despite their differences in detail, these scholars, such as Reagan and Bush, work with a dualism that considers only the features of Judah’s enemies incorporated into Gog’s characteristics. Via an analysis of the semantic allusions, literary position and early receptions of Ezekiel 38–39, this article argues that Gog and his entourage primarily display literary attributes previously assigned to Judah’s political allies. (shrink)

Present-day medievalists regard it as an undisputed fact that Arabic culture - especially science - influenced the Latin Middle Ages in a multitude of ways. However, more detailed research is needed into the conditions, background and context of this 'cultural exchange', a task undertaken by the present volume in 44 papers from a variety of disciplines.