Philosophy's traditional "man of reason"—independent, neutral, unemotional—is an illusion. That's because the "man of reason" ignores one very important thing—the woman. Representing Reason: Feminist Theory and Formal Logic collects new and old essays that shed light on the underexplored intersection of logic and feminism.

Actor‐Network Theory is a research lens that has gained popularity in the nursing and health sciences domains. The perspective allows a researcher to describe the interaction of actors (both human and non‐human) within networked sociomaterial contexts, including complex practice environments where nurses and health technology operate. This study will describe Actor‐Network Theory and provide methodological considerations for researchers who are interested in using this sociotechnical lens within nursing and informatics‐related research. Considerations related to technology conceptualization, levels of analysis, and sampling (...) procedures in Actor‐Network Theory based research are addressed. Finally, implications for future nursing research within complex environments are highlighted. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:Noël Carroll THE PARADOX OFJUNK FICTION Perhaps on your way to some academic conference, if you had no papers to grade, you stopped in die airport gift shop for something to read on the plane. You saw racks of novels authored by die likes of Mary Higgins Clark, Michael Crichton, John Grisham, Danielle Steele, Sidney Sheldon, Stephen King, Sue Grafton, Elmore Leonard, Sara Paretsky, Tom Clancy, and so (...) on. These are the kinds of novels that, when you lend them to friends, you don't care, unless you live in Bowling Green, Ohio, whether you ever get them back. They are mass, popular fictions. In another era, they would have been called pulp fictions. Following Thomas Roberts,1 I will call diem junk fictions, under which rubric I will also include things like Harlequin romances; sci-fi, horror, and mystery magazines; comic books; and broadcast narratives on either the radio or TV, as well as commercial movies. There are a number of interesting philosophical questions diat we may ask aboutjunk fiction. We could, for example, attempt to characterize its essential features. However, for the present, I will assume that the preceding examples are enough to provide you with a rough-andready notion of what I am calling junk fiction, and I will attempt to explore anotiier feature of the phenomenon, viz., what I call the paradox ofjunk fiction. Thejunk fictions that I have in mind are all narratives. Indeed, dieir story dimension is die most important thing about diem. Stephen King, for instance, makes diis point by saying that he is primarily a story teller rather than a writer. Junk fictions aspire to be page-turners—the blurb on the cover of Stillwatch by Mary Higgins Clark says that it is "designed to be read at breatiitaking speed"—and what motivates turning die page so quickly is our interest in what happens next. We do not dawdle Philosophy and Literature, © 1994, 18: 225-241 226Philosophy and Literature over Clark's diction as we might over Updike's nor do we savor die complexity of her sentence structure, as we do widi Virginia Woolfs. Radier, we read for story. Moreover, junk fictions are die sort of narratives that commentators are wont to call formulaic. That is, junk fictions generally belong to well-entrenched genres, which diemselves are typified by tiieir possession of an extremely limited repertoire of story-types. For example, as John Cawelti has pointed out, one such recurring Western narrative is diat of the recendy pacifist gunfighter, like Shane, who is forced by circumstances to take up his pistols again, widi altogedier devastating effect.2 Junk fictions tell diese generic stories again and again with minor variations. Sometimes diese variations may be quite clever and unexpected. Agatiia Christie was the master of this; she was able to use the conventions of the mystery genre in order to "hide" her murderers. In TheMurderofRogerAckroyd, she "secrets" the murderer in the personage of the narrator; in Ten Little Indians, die murderer is a "dead man"; while in Murder on the Orient Express, all the suspects did it. In each of these cases, Christie's brilliance hinges upon her playing (and preying) upon conventional expectations. Neverdieless, even diese surprising variations require a well-established background of narrative forms. That is, in order to appreciate diese variations, die reader must in some sense know die standard story already. And with junk fiction, it is generally fair to say that in some sense, the reader—or, at least, the reader who has read around in die genre before—knows in rough oudine how die story is likely to go. Readers and/or viewers of Jurassic Park surmised, once die dinosaur enclosures were described, diat in fairly short order die dinosaurs would trample them down and go on the rampage—after all we had already seen or read The Lost World, King Kong, and their progeny. So, junk fictions are formulaic. They rehearse certain narrative formats again and again. And, furthermore, in some very general sense, the audience already knows die story in question. But this knowledge on die part of die audience provokes a question, specifically, why if the reader, viewer or listener already... (shrink)

An award-wining biologist takes us on the dramatic expeditions that unearthed the history of life on our planet. Just 150 years ago,most of our world was an unexplored wilderness.Our sense of how old it was? Vague and vastly off the mark. And our sense of our own species’ history? A set of fantastic myths and fairy tales. Fossils had been known for millennia, but they were seen as the bones of dragons and other imagined creatures. In the tradition of The (...) Microbe Hunters and Gods, Graves, and Scholars, Sean Carroll’s Remarkable Creatures celebrates the pioneers who replaced our fancies with the even more amazing true story of how our world evolved. Carroll recounts the most important discoveries in two centuries of national history — from Darwin’s trip around the world to CharlesWalcott’s discovery of pre-Cambrian life in the Grand Canyon; from Louis and Mary Leakey’s investigation of our deepest past in East Africa to the trailblazers in modern laboratories who have located a time clock in our DNA. Join him in a rousing voyage of discovery, from the epic journeys of pioneering naturalists to the breakthroughs making headlines today. (shrink)

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

In this chapter, we treat Larry David’s television series, Curb Your Enthusiasm as, in large measure, a philosophical exercise. We argue that it presents a critique of our norms, practices, and conventions of social behavior, notably those that pertain primarily to civility rather than to morality. This critique identifies certain essential features of such behavior including: the typical unspoken-ness of its governing norms, and their non-necessity, despite appearances to the contrary, due to our intense emotional investment in them. In Curb (...) Your Enthusiasm, the ostensible justification that “This is just how we do things” comes in for merciless, satirical interrogation, most often by Larry David but sometimes by others, at Larry David’s expense. This chapter relies heavily on Mary Douglas’s discussion of jokes, but parts company with it in crucial respects. The chapter will also situate Larry David’s brand of humor in the context of the philosophy of comic amusement in terms of the notion of incongruity. Special emphasis will be played on the importance Larry David assigns to emotions in the maintenance of the relevant social norms. (shrink)

Dans son ouvrage Décadence, Michel Onfray s'en prend avec virulence au christianisme antique et à son héritage. Selon le philosophe, la personne de Jésus n'est qu'un mythe sans consistance historique et la religion chrétienne se trouve à l'origine des violences et de l'intolérance qui obscurcissent, jusqu'à nos jours, le devenir de l'Occident, à travers son lien étroit au pouvoir politique. Il revient ici à Jean-Marie Salamito de répondre point par point à ces affirmations aussi définitives que contestables : non, (...) le christianisme n'est pas un obscurantisme bon à jeter aux poubelles de l'histoire. L'existence et le message de Jésus sont bel et bien attestés. Saint Paul n'est pas l'inventeur d'une religion obscurantiste qui manie le glaive. Et l'on ne peut réduire la relation Eglise/politique au seul épisode de Constantin. Et si le christianisme décrit par Michel Onfray n'était, au fond, qu'un mythe, une vision réinventée et caricaturée, sans plus de réalité que les personnages fantasques de Lewis Carroll? (shrink)

Discussion of Wittgenstein's Tractatus is currently dominated by two opposing interpretations of the work: a metaphysical or realist reading and the 'resolute' reading of Diamond and Conant. Marie McGinn's principal aim in this book is to develop an alternative interpretative line, which rejects the idea, central to the metaphysical reading, that Wittgenstein sets out to ground the logic of our language in features of an independently constituted reality, but which allows that he aims to provide positive philosophical insights into (...) how language functions. McGinn takes as a guiding principle the idea that we should see Wittgenstein's early work as an attempt to eschew philosophical theory and to allow language itself to reveal how it functions. By this account, the aim of the work is to elucidate what language itself makes clear, namely, what is essential to its capacity to express thoughts that are true or false. However, the early Wittgenstein undertakes this descriptive project in the grip of a set of preconceptions concerning the essence of language that determine both how he conceives the problem and the approach he takes to the task of clarification. Nevertheless, the Tractatus contains philosophical insights, achieved despite his early preconceptions, that form the foundation of his later philosophy. -/- The anti-metaphysical interpretation that is presented includes a novel reading of the problematic opening sections of the Tractatus, in which the apparently metaphysical status of Wittgenstein's remarks is shown to be an illusion. The book includes a discussion of the philosophical background to the Tractatus, a comprehensive interpretation of Wittgenstein's early views of logic and language, and an interpretation of the remarks on solipsism. The final chapter is a discussion of the relation between the early and the later philosophy that articulates the fundamental shift in Wittgenstein's approach to the task of understanding how language functions and reveal the still more fundamental continuity in his conception of his philosophical task. (shrink)

This dissertation aims to construct a non-dogmatic defence of common sense. It tries to show why the absence of justification for the judgements of common sense, which the sceptic reveals, does not invalidate them.

Descartes claims that the passions of the soul are “all in their nature good” even though they exaggerate the value of their objects, have the potential to deceive us, and often mislead us. What, then, can he mean by this? In this paper, I argue that these effects of the passions are only problematic when we incorrectly take their goodness to consist in their informing us of harms and benefits to the mind-body composite. Instead, the passions are good in their (...) motivational function, which they carry out by representing objects and situations as having various properties and thereby appearing to be “reasons of goodness.” Further, I argue that the main way in which the passions are problematic is merely an occasional physiological byproduct of a well- functioning system. I show, therefore, that the passions’ motivational function, representationality, and accompanying physiology are all significant and interrelated aspects of their goodness. (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)

How can qualitative research methods be a tool for social change? Echoing the 'scandal of particularity' at the heart of the Christian tradition, theologians and ethicists involved in ethnographic research draw on the particular to seek out answers to core questions of their discipline.

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Eaton, (...) Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

Personhood is ascribed on others, such that someone who is recognized to be a person is bestowed with certain civil rights and the right to decision making. A rising question is how severely brain-injured patients who regain consciousness can also regain their personhood. The case of patients with locked-in syndrome is illustrative in this matter. Upon restoration of consciousness, patients with LIS find themselves in a state of profound demolition of their bodily functions. From the third-person perspective, it can be (...) expected that LIS patients might experience a differential personal identity and may lose their status as persons. However, from the patients’ perspective, it is uncontested that they retain their personal identity and that they consider themselves to be persons. We here include results from a survey with patients with LIS aimed at identifying the primary expectations of patients for their care by non-medical professionals. Based on these first-hand reports, we argue that personhood in LIS is progressively regained as the widening circle of others recognizes them as persons. (shrink)

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Eaton, (...) Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

Agonistic Democracy explores how theoretical concepts from agonistic democracy can inform institutional design in order to mediate conflict in multicultural, pluralist societies. Drawing on the work of Foucault, Nietzsche, Schmitt, and Arendt, Marie Paxton outlines the importance of their themes of public contestation, contingency and necessary interdependency for contemporary agonistic thinkers. Paxton delineates three distinct approaches to agonistic democracy: David Owen's perfectionist agonism, Mouffe's adversarial agonism, and William Connolly and James Tully's inclusive agonism. Paxton demonstrates how each is fundamental (...) to enabling citizens to cultivate better virtues for themselves and society (Owen), motivating democratic engagement (Mouffe) and enhancing relations of respect and understanding between conflicting citizens (Connolly and Tully). Situated within the context of a deeply polarised post-Trump America and post-Brexit Britain, this book reveals the need to rethink our approach to conflict mediation through democratic institutions. Pulling together insights from experimental research with deliberative democratic innovations, Paxton explores how agonistic theory might be institutionalised further. Through discussing ways in which agonistic institutions might be developed to render democracy more virtuous, more engaging, and more inclusive, Agonistic Democracy provides a unique resource for students of contemporary political theory. (shrink)

There is a debate within philosophy of literature as to whether narrative artworks should be judged morally, for their ethical value, meaning and impact. On one side you have the aesthetes, defenders of aestheticism, who deny the ethical value of an artwork can be taken into consideration when judging the work’s overall aesthetic value. Richard Posner backs artists such as Oscar Wilde who famously wrote, ‘there is no such thing as a moral or an immoral book. Books are well written, (...) or badly written. That is all’. On the other side of the debate are proponents of ethical criticism such as Martha Nussbaum, Wayne Booth, Noël Carroll and Mary Devereaux. This article examines the educational implications of each position and ultimately defends the importance of moral education alongside aesthetic education. Given artworks are powerful vehicles for moral sentiments and meaning, it is important that viewers are taught to engage critically with art’s ethical features as well as aesthetic features. In this way, educational concerns pose a challenge to the position of aestheticism. (shrink)

The classical theory of semantic information (ESI), as formulated by Bar-Hillel and Carnap in 1952, does not give a satisfactory account of the problem of what information, if any, analytically and/or logically true sentences have to offer. According to ESI, analytically true sentences lack informational content, and any two analytically equivalent sentences convey the same piece of information. This problem is connected with Cohen and Nagel's paradox of inference: Since the conclusion of a valid argument is contained in the premises, (...) it fails to provide any novel information. Again, ESI does not give a satisfactory account of the paradox. In this paper I propose a solution based on the distinction between empirical information and analytic information. Declarative sentences are informative due to their meanings. I construe meanings as structured hyperintensions, modelled in Transparent Intensional Logic as so-called constructions. These are abstract, algorithmically structured procedures whose constituents are sub-procedures. My main thesis is that constructions are the vehicles of information. Hence, although analytically true sentences provide no empirical information about the state of the world, they convey analytic information, in the shape of constructions prescribing how to arrive at the truths in question. Moreover, even though analytically equivalent sentences have equal empirical content, their analytic content may be different. Finally, though the empirical content of the conclusion of a valid argument is contained in the premises, its analytic content may be different from the analytic content of the premises and thus convey a new piece of information. (shrink)

In previous writings, I proposed that we dehumanize others by attributing the essence of a less-than-human creature to them, in order to disable inhibitions against harming them. However, this account is inconsistent with the fact that dehumanizers implicitly, and often explicitly, acknowledge the human status of their victims. I propose that when we dehumanize others, we regard them as simultaneously human and subhuman. Drawing on the work of Ernst Jentsch, Mary Douglas, and Noël Carroll, I argue that the notion (...) of dehumanized people as metaphysically transgressive provides important insights into the distinctive phenomenology of dehumanization. (shrink)

For centuries, philosophy has been considered as an intellectual activity requiring complex cognitive skills and predispositions related to complex (or critical) thinking. The Philosophy for Children (P4C) approach aims at the development of critical thinking in pupils through philosophical dialogue. Some contest the introduction of P4C in the classroom, suggesting that the discussions it fosters are not philosophical in essence. In this text, we argue that P4C is philosophy.

_The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Eaton, (...) Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson. Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art. (shrink)

This paper looks at statements I am in a position to make ‘straight off’: observational judgements, perceptual and memory statements, statements about my posture, my intentions, and so on. These kinds of statement pose a problem: what is the nature of my entitlement to them? I focus on observational judgements and on two contrasting approaches to them. The first, which I reject, provides an account of my warrant for them; the second, which I defend, disconnects my entitlement from possession of (...) a justification. I consider what light the second approach sheds on the other kinds of statements I am in a position to make straight off. (shrink)

From the Foreward by Mortimer J. Adler Of all the question or issues concerning human freedom, none is more fundamental in itself and in its consequences than the problem of free choice; and none has been the subject of more persistent and, at the same time, apparently irresolvable controversyThis bookis the perfect antidote for the errors, the misunderstandings or worse, the ignorances that beset the modern discussion of free choice. Even the reader who comes to this book with little or (...) no knowledge of the philosophical literature on the subjects that it treats cannot fail to appreciate its remarkable clarity, its felicitous combination of detailed concreteness with abstract precision, its exploration of common experience and its elucidation of common sense, and, above all, the intelligibility, reasonableness, and fairness of its exposition of free choice. (shrink)

In the 21st century, the screen - the Internet screen, the television screen, the video screen and all sorts of combinations thereof - will be booming in our visual and infotechno culture. Screen-based art, already a prominent and topical part of visual culture in the 1990s, will expand even more. In this volume, digital art - the new media - as well as its connectedness to cinema will be the subject of investigation. The starting point is a two-day symposium organized (...) by the Netherlands Media Art Institute Montevideo/TBA, in collaboration with the _L&B _ series and the Amsterdam School of Cultural Analysis. Issues which emerged during the course of investigation deal with questions such as: How could screen-based art be distinguished from other art forms? Could screen-based art theoretically be understood in one definite model or should one search for various possibilities and/or models? Could screen-based art be canonized? What are the physical and theoretical forms of representation for screen-based art? What are the idiosyncratic concepts geared towards screen-based art? This volume includes various arguments, positions, and statements by artists, curators, philosophers, and theorists. The participants are Marie-Luise Angerer, Annette W. Balkema, René Beekman, Raymond Bellour, Peter Bogers, Joost Bolten, Noël Carroll, Sean Cubitt, Cãlin Dan, Chris Dercon, Honoré d'O, Anne-Marie Duquet, Ken Feingold, Ursula Frohne, hARTware curators, Heiner Holtappels, Aernout Mik, Patricia Pisters, Nicolaus Schafhausen, Jeffrey Shaw, Peter Sloterdijk, Ed S. Tan, Barbara Visser and Siegfried Zielinski. (shrink)

Il faut saluer la réédition aux Éditions Turquoise de la traduction de Die Waffen nieder!, l’ouvrage antimilitariste de la pacifiste autrichienne Bertha von Suttner, qui, dès sa parution en 1889, devint le best-seller incontesté de la fin du siècle, immédiatement traduit en une vingtaine de langues et en français en 1899. C’est du reste cette traduction, la seule existant à ce jour en langue française, qui est rééditée ici avec la préface d’époque signée par Gaston Moch, dreyfusard de la prem...