The affinity which the English Leviathan evinces for Independency is the focus of Johann Sommerville's article. Among the links the author traces is a concern to stress that clergymen have no independent jurisdiction over the laity, in contrast to positions shared by Catholics, Presbyterians and Anglicans. But, Hobbes has no doubt that the Independents themselves were fanatics, prescribing religious duties that might conflict with those of the lawful sovereign. Independents also taught resistance to the sovereign, while it is a key (...) aspect of Hobbes's political theory to teach submission to political authority. To summarize, while Leviathan agrees with the Independents in rejecting divine right theories of church government, it cannot be read as a defense of Independent thinking in general. (shrink)

Based on the Social Media Political Participation Model (SMPPM), this study investigates the relationship between four key motivations behind the use of Social Network Sites (SNS) and political engagement among adolescents. We collected our data in a paper-pencil survey with 15- to 20-year-old adolescents (N=294), a highly underexplored group, which is most active on social media. We theorize that adolescents’ user motivations are related to political engagement via two modes of exposure: The intentional mode, which is related to active information (...) seeking, and the incidental mode, in which adolescents run into politics only by accident. We found that political information and self-expression motivations were positively related to political engagement via the intentional mode. By contrast, entertainment motivations were negatively related to offline, but not to online engagement via the incidental mode. (shrink)

This article is devoted to the historical roots of the quest for rigor associated with analytic philosophy. Starting out from distinctions between different senses of “rigourµ, it considers the rather diverse conceptions and pursuits of rigour in Frege, Russell, Moore, Wittgenstein and Carnap. On that basis it diagnoses a potential conflict that some of them were aware of, but that has been ignored by recent commentators, namely between certain kinds of rigour on the hand, clarity and surveyability on the other. (...) That conflict is related to the contrast between formal and non-formal ways of pursuing rigour. Frege, Wittgenstein and Carnap occupy distinct positions concerning both issues. Nevertheless, all three are united with n the hope to achieve philosophical progress by means of clear questions and statements put in the service of rigorous argument. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Question of Style in Philosophy and the ArtsJeffrey R. Di LeoThe Question of Style in Philosophy and the Arts, edited by Caroline van Eck, James McAllister and Renée van de Vall; xi & 245 pp. Cambridge: Cambridge University Press, 1995, $49.95.The question, “Should philosophers concern themselves with questions of style?” motivates this rich collection of twelve essays on the interrelatedness of content and its formal representation in (...) both philosophical writing and the arts. Alongside issues such as aestheticized forms of philosophizing and the relationship between method and style, there are articles on Heinrich von Kleist’s Marionettentheater, the graphic works of William Hogarth, Alexis de Tocqueville’s use of metaphor and paradox, the use of ellipses in Johannes Kepler’s astronomical theories, and eclecticism in eighteenth-century English architecture.Style has been an explicit concern for historians and theorists of the arts long before it came to the fore in philosophy. The editors think philosophers can learn a lot not only about the concept of style but also about philosophical style by looking into the practices of musicians, architects, and painters and by thinking about how styles are formed, transformed, and understood in the arts. By comparing the arts and philosophy, we can move toward something lacking in contemporary discussions, namely stylistic categories specific to philosophy. Richard Wollheim’s essay, for example, offers many categories appropriate to painting that could be relevant to philosophical writing.A provocative point traced here is that until the end of the eighteenth century, “style” had little to do with the meaning of a work of art—the term merely denoted an artwork’s place in the hierarchy of art. Before 1800, there was hardly a question of choice among styles: contributions to a practice were regarded not as belonging to one style or another, but as falling within or being alien to a practice. Only in the early nineteenth century did style become a key element in the meaning of a work, when it took the place previously occupied by nature, antiquity, or absolute standards of reason. With the traditional bearers of meaning gone, one could no longer look to content for meaning, and artists turned to style to create meaningful art—style being that aspect of writing, painting, or building traditionally associated with ornament, that could be varied without changing the content. Gradually, the “variable” element in art became the prime bearer of meaning.The claim here is that an analogous transition from stylistic monism to pluralism occurred in philosophy about a century after it did in art. This shift away from the monistic geometrical and mathematical standards of philosophical reasoning established in the late sixteenth century was brought about by philosophers such as Nietzsche and Wittgenstein. Lambert Weising suggests that, with Wittgenstein, there is a substitution of style for truth—a point which seems equally true of others, notably Nietzsche. A consequence of this new [End Page 187] pluralism is a loosening of what can be called philosophical reasoning, and an increasing receptiveness to and acceptance of a diversity of philosophical styles. Questions of style do tend to arise in connections with philosophers of the literary sort—Plato or Kierkegaard. Now philosophers have much less difficulty regarding as philosophical a work such as Pascal’s Pensées, which has traditionally been treated more as literature than as philosophy.One of the challenges of this collection is to refute the view of those who deny that the content of their philosophical writing depends at all on style. This would give support to a thesis defended by Martha Nussbaum in this journal in 1983: “No stylistic choice can be presumed to be neutral—not even the choice to write in a flat or neutral style” (p. 146). Beryl Lang, who has addressed this question in other books and articles, argues that style is relevant to all philosophical writing, even that professed to be “style-less.” Lang correctly shows that philosophers’ general disregard for expressiveness, and their belief that the proper philosophical method will lead all who follow it to the same results, has itself become a feature of philosophical writing. So “style-less” writing is a philosophical... (shrink)

What sort of thing is the mind? And how can such a thing at the same time - belong to the natural world, - represent the world, - give rise to our subjective experience, - and ground human knowledge? Content, Consciousness and Perception is an edited collection, comprising eleven new contributions to the philosophy of mind, written by some of the most promising young philosophers in the UK and Ireland. The book is arranged into three parts. Part I, Concepts and (...) Mental Content, which begins with an attack by Hans-Johann Glock on the representational theory of mind, addresses the nature of mental representation. Part II, Consciousness and the Metaphysics of Mind, concerns the prospects for a naturalistic metaphysics of the conscious mind. Finally, Part III, entitled Perception, pursues the project of giving a satisfactory philosophical account of perceptual experience. The book begins with an introductory essay by the editors, which provides an overview of the state of contemporary philosophy of mind, locating the articles to follow within that context. The individual chapters of Content, Consciousness and Perception are professional contributions to their respective areas, of interest to any philosopher of mind. The volume as a whole is ideal for non-specialists and students interested in getting to grips with the state of the art in contemporary philosophy of mind. -/- Praise for the book: 'If you want to know what the next but one generation of philosophers of mind are thinking about now, *Content, Consciousness and Perception * is a terrific place to look. This wide-ranging international collection is relevant to psychologists and cognitive scientists as well as philosophers.' Tim Williamson Wykeham Professor of Logic at Oxford University. (shrink)

An International Fichte Congress was held at the Friedrich-Schiller-Universitat in Jena, September 26 to October 1, 1994, under the auspices of the Internationale Johann-Gottlieb-Fichte-Gesellschaft, in celebration of the 200th anniversary of the Wissenschaftslehre. Participants came from all corners of Eastern and Western Europe, Canada, Japan, and the United States. Well over one hundred papers were read on all aspects of Fichte’s philosophy and Fichte’s heritage. Among the participants from North America some were well known faces from the HSA, such as (...) Daniel Breazeale, George di Giovanni, Tom Rockmore, Jere Surber, and Michael Vater. They all made presentations. An excursion to Weimar proved an enjoyable diversion from the otherwise strict discipline of Fichtean science. (shrink)

The essay deals with the question whether Fichte’s socio-economic model which based both on the experiences and ideas of his time. Additionally, it explores how his socio-economic theorems stood out against cameralistic and feudal-conservative discussions and to what extent they can be described as an early critique of capitalism. Is the essence of Fichte’s socio-economic ideas to be seen in his model of state regulation or rather in his methodological claim of genetically developing the phenomena by showing their mediating links? (...) What is however still relevant today is Fichte’s idea that human beings are not the objects or means of social relations but their subjects and aims. For this purpose, Fichte developed a concept of justice that is constitutive for his notion of society. Democracy aiming at an active use of reason and social justice are the two moments which depend on each other. (shrink)

The search for an agreement between Aristotle’s and Descartes’ philosophy was aimed at making Cartesian physics acceptable in the Dutch universities by showing its consistency with Aristotelian thought. Their agreement is defended by Johannes De Raey in the Clavis philosophiae naturalis (1654), where he interprets the Corpus Aristotelicum from a Cartesian standpoint. Those Aristotelian positions which are inconsistent with Descartes’ are treated as erroneous. The Scholastic positions, moreover, are considered as distant from the true Aristotelian philosophy rediscovered by Descartes.

In lieu of an abstract, here is a brief excerpt of the content:Prima parte – Descrizione del sermonarioNel 1494 Johann Meder, francescano osservante, affronta il compito di predicare la Quaresima a Basilea. Davanti all'interrogativo su come conquistare l'attenzione degli ascoltatori, vincendone la distrazione senza diventare un "adulterator verbi Dei," concepisce un ciclo profondamente innovativo, dato alle stampe l'anno successivo. Nella stessa città un altro ciclo di predicazione sui generis vede la luce in concomitanza alle prediche di Meder: in quei giorni (...) infatti viene pubblicato a Basilea il Narrenschiff di Sebastian Brant, testo di immediato successo, rapidamente tradotto e diffuso in tutta Europa. Lo studio dei due testi mostra precisi contatti e convergenze di interessi tra il predicatore francescano e Brant, tra pulpito e tipografia. Se il Narrenschiff si caratterizza fin da subito per le sue xilografie, che annoverano tra gli autori il giovane Dürer, è proprio il comune interesse per l'uso delle immagini a caratterizzare il rapporto tra Brant e Meder. Basti qui anticipare che le prediche di Meder vengono stampate con un corredo di xilografie, opera di uno dei migliori illustratori del tempo influenzati da Dürer, che rendono questa edizione un unicum nel panorama dei sermonari alla fine del Quattrocento.L'intreccio di questi fatti accresce l'interesse di una ricerca che indaghi come si comporta un predicatore osservante nella Basilea di Brant e Dürer. Pur essendo state già notate alcune particolarità del sermonario di Meder, questo testo ha ricevuto finora un'attenzione solo cursoria. Questo articolo si propone di mettere in luce quattro elementi: nella prima parte l'architettura generale del quaresimale, in maniera particolare il suo impianto teatrale; nella seconda parte la sincronia tra predicazione e Narrenschiff, il rapporto tra Meder e Brant e le caratteristiche dell'edizione del Quadragesimale novum come sermonario illustrato.1. Basilea 1494: il Narrenschiff e un ciclo di prediche quaresimaliIl volto di Basilea lungo il XV secolo è segnato da tre avvenimenti determinanti: il concilio, l'università, la stampa. Li evochiamo rapidamente per la loro incidenza sull'identità e lo spessore culturale della città. Il concilio pose per diversi anni Basilea al centro della cristianità, permettendole di assumere un ruolo e una notorietà europea. Uno dei frutti del nuovo profilo assunto dalla città fu la nascita dell'università, la quale, dopo una prima breve esperienza , venne rifondata su più solide basi nel 1460, contribuendo a creare le condizioni favorevoli per il precoce impianto della stampa e il suo rapido sviluppo, che rese Basilea presto uno dei centri di eccellenza, soprattutto per i libri illustrati.Dentro a queste coordinate si colloca Brant, nato a Strasburgo nel 1457 e giunto come studente nel 1475 a Basilea, dove si licenzia in diritto nel 1484 e diviene doctor utiusque iuris nel 1489. All'università Brant ricopre la cattedra sia di diritto che di poesia, affiancando all'insegnamento il lavoro presso diversi editori, fino al 1501, quando torna a Strasburgo, dove morirà nel 1521. Se nel 1494 Brant è ormai un esperto protagonista nella vita di Basilea, Meder vi si è inserito da poco, dall'anno precedente. È un uomo intorno ai sessant'anni e un predicatore esperto, con un curriculum ormai ventennale in diversi conventi francescani lungo la valle del Reno, tra Magonza e Basilea, dove risiederà fino al 1502.Nei giorni di Carnevale del febbraio del 1494, alla vigilia della Quaresima, viene pubblicato il Narrenschiff. Come è noto si tratta di una satira morale che, capitolo dopo capitolo, passa in rassegna le follie del mondo, soprattutto cittadino. È una critica alla follia non ancora capace di quell'ironia che sarà di Erasmo, ma che, pur condannando tutto e tutti, crede possibile l'azione educatrice della sapienza e dunque il 'rinsavimento' dei folli. Se si chiede chi siano i folli, la risposta di Brant è tutti, e la prima follia è non volerselo sentire dire. Proprio per questo Brant ha costruito uno spiegel nel quale ognuno possa vedere la propria follia, perché l'inizio della sapienza è il riconoscimento della stoltezza e della.. (shrink)