In real-time, Twitter strongly imprints world events, popular culture, and the day-to-day; Twitter records an ever growing compendium of language use and change; and Twitter has been shown to enable certain kinds of prediction. Vitally, and absent from many standard corpora such as books and news archives, Twitter also encodes popularity and spreading through retweets. Here, we describe Storywrangler, an ongoing, day-scale curation of over 100 billion tweets containing around 1 trillion 1-grams from 2008 to 2020. For each day, we (...) break tweets into 1-, 2-, and 3-grams across 150+ languages, record usage frequencies, and generate Zipf distributions. We make the data set available through an interactive time series viewer, and as downloadable time series and daily distributions. We showcase a few examples of the many possible avenues of study we aim to enable including how social amplification can be visualized through ‘contagiograms’. (shrink)

ObjectiveApproximately half of all people living with amyotrophic lateral sclerosis experience persistent or recurrent emotional distress, yet little is known about the psychological processes that maintain emotional distress in this population. The self-regulatory executive functioning model specifies that maladaptive metacognitive beliefs and processes are central to the development and maintenance of emotional distress. This study explored whether maladaptive metacognitive beliefs are associated with emotional distress after controlling for demographic factors, time since diagnosis, and current level of physical functioning.DesignIn a cross-sectional (...) design, 75 adults with a diagnosis of ALS completed self-report questionnaires. Participants had a mean age of 60.40 years, mean duration of symptoms 63.92 months, and male:female gender ratio of 14:11.Main Outcome MeasuresQuestionnaires assessed emotional distress, physical functioning, repetitive negative thinking, metacognitive beliefs, and demographic factors.ResultsMaladaptive metacognitive beliefs explained additional variance in emotional distress after controlling for age, gender, time since diagnosis, physical functioning, and repetitive negative thinking. Repetitive negative thinking partially mediated the relationships between positive and negative metacognitive beliefs and emotional distress.ConclusionsThese data support the utility of the metacognitive model in understanding emotional distress in people with ALS. Examination of the temporal relationship between maladaptive metacognitive beliefs and emotional distress in people living with ALS may help to guide the development of therapeutic approaches. (shrink)

This systematic review identifies and critically evaluates instruments that have been developed to measure clinical trial informed consent comprehension in non-cognitively-impaired adults.Literature searches were carried out on Medline (Ovid), PsycInfo, CINHAL, ERIC, ScienceDirect, and Cochrane Library for English language articles published between January 1980 and September 2008. Instruments were excluded if they focused on consent onto paediatric trials, the construct under study was primarily capacity or competency, or the instrument was developed specifically for psychiatric or cognitively-impaired populations. Instruments selected for (...) review were evaluated against the following criteria: (1) method of item generation; (2) type and format of test items; (3) administration and interpretation of test results; and (4) psychometric properties.Three instruments met our defined inclusion criteria: the Deaconess Informed Consent Comprehension Test (DICCT), the Quality of Informed Consent (QuIC) questionnaire and the Brief Informed Consent Protocol (BICEP). Each instrument varied in terms of content measured. Significantly, these are the first standardized instruments developed to assess comprehension in non-cognitively-impaired adults. Yet, each instrument had its own set of limitations such as the lack of generalizability and the absence of details pertaining to how test results should be used to guide clinical decision-making.Standardized clinical trial informed consent comprehension assessments have been developed to identify gaps in research participants' understanding and ensure that respect for patient autonomy is satisfied. (shrink)

Timothy Williamson's epistemology leads to a fairly radical version of scepticism. According to him, all knowledge is evidence. It follows that if S knows p, the evidential probability for S that p is 1. I explain Williamson's infallibilist account of perceptual knowledge, contrasting it with Peter Klein's, and argue that Klein's account leads to a certain problem which Williamson's can avoid. Williamson can allow that perceptual knowledge is possible and that all knowledge is evidence, while at the same time (...) avoiding Klein's problem. But while Williamson can allow that we know some things through experience, there are very many things he must say we cannot know. Given just how very many these are, he should be considered a sceptic. (shrink)

Peter Kivy has become convinced that it is impossible for pure, instrumental music to be profound. This is because he takes works of such music to be incapable of meeting what he claims to be two necessary conditions for artistic profundity: that the work denotes something profound, and that the work expresses profound propositions about its profound denotatum. The negative part of this paper argues as follows. Although works of pure, instrumental music do, indeed, fail to meet these conditions, (...) the said conditions are not themselves necessary for artistic profundity. In fact, each is a misinterpretation of a distinct, genuinely necessary condition for a work’s being profound: respectively, that the work has a profound subject matter, and that the work handles its profound subject matter in such a way as to elicit a deeper understanding of it in the suitably situated and prepared appreciator. The positive part of the paper elaborates these genuinely necessary conditions for artistic profundity and then argues that, once they have been disentangled from Kivy’s misconstruals of them, it becomes evident that they can be met by pieces of pure, instrumental music. (shrink)

This volume presents new essays on art, mind, and narrative inspired by the work of the late Peter Goldie, who was Samuel Hall Professor of Philosophy at the University of Manchester until 2011. Divided into three sections - Narrative Thinking; Emotion, Mind, and Art; and Art, Value, and Ontology - the book presents fascinating new philosophical work on these intertwined subjects. Topics covered include the role of narrative thinking in our lives, the nature of our imaginative engagement with fiction, (...) the emotions and their role in motivating action, and the nature of conceptual art. (shrink)

RÉSUMÉLes œuvres musicales sont à la fois multiples et audibles. Dans le domaine de l'ontologie musicale, deux des principaux modèles conçus pour expliquer ces caractéristiques des œuvres musicales sont le modèle type/instanciation et le modèle étape/continuité. Julian Dodd a soutenu que le modèle type/instanciation a un avantage sur le modèle étape/continuité, car il peut offrir une explication directe de l'audibilité des œuvres musicales en termes de catégorie ontologique. Je défends le modèle étape/continuité contre l'argument de Dodd en invoquant une relation (...) de continuité qui unifie l’œuvre. (shrink)

According to certain models of the musical work-performance relationship, musical works persist through time. Dodd and Thomasson argue that perdurantist accounts of musical persistence—according to which musical works persist by having temporal parts at every time they exist—are untenable, and Tillman argues that musical endurantism—according to which persisting works are wholly present at each time they exist—avoids Dodd’s worries. In this paper, I argue that both Dodd’s and Thomasson’s arguments—and Tillman’s response—rely on assumptions linking theories of persistence to common-sense views (...) about musical works and, moreover, that these assumptions are unwarranted. As a result, only an attitude of neutrality towards questions about the nature of musical persistence is warranted. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

A passionate indictment of the major political parties in Britain today for their failure to face the biggest issues on the British political agenda. -/- These are issues of survival / not just of ourselves or our families, not just of the immediate environment or of our own country, but of the world itself. Politicians of every tradition have let us down, They offer the superficial appeal of a temporary prosperity. They make no promise for the future. -/- This book (...) brings together prominent people from socialist, liberal and green traditions together with those from whose experience lies in pressure groups. What they have in common is more remarkable than what divides them despite the fact that they have been candidates for opposing political parties. The empty rhetoric of the twentieth century politics has proved of no worth. This book explores the opportunities for a new and green parliamentary politics which will take us beyond the politics of Thatcher and Kinnock and into the 21st century. (shrink)

We survey the definition and fundamental properties of the family of short core models, which extend the core model K of Dodd and Jensen to include α-sequences of measurable cardinals . The theory is applied to various combinatorial principles to get lower bounds for their consistency strengths in terms of the existence of sequences of measurable cardinals. We consider instances of Chang's conjecture, ‘accessible’ Jónsson cardinals, the free subset property for small cardinals, a canonization property of ω ω , and (...) a non-closure property of elementary embeddings of the universe. In some cases, equiconsistencies are obtained. (shrink)

This reissue of his collection of early essays, Logico-Linguistic Papers, is published with a brand new introduction by Professor Strawson but, apart from minor ...

A historical investigation of the exclusion of Africa and Asia from modern histories of philosophy.

This provocative collection of essays written by the influential Greek scholar E. R. Dodds between 1929 and 1971. represents the wide range of his literary and philosophical interests. Insightful and learned, the essays combine profound scholarship with the lucid humanity of a teacher awareof the special value of Greek studies in the modern world.

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

Proclus' Elements of Theology is a concise summa of the Neoplatonic system in its fully developed form; and for the student of late Greek thought second in importance only to the Enneads of Plotinus. Professor Dodds has provided a critical text based on a personal examination of some forty manuscripts, together with an English translation and a philosophical and linguistic commentary. First published in 1933, this second edition includes an Appendix of Addenda et Corrigenda and is widely regarded and (...) respected as the definitive edition of the text today. (shrink)

In 2022, an estimated 110,000 people died of an opioid-related drug overdose in the United States (Ahmad et al. 2024) primarily related to illicit fentanyl. However, fatal overdoses comprise only a...

This essay examines Catharine Cockburn's moral philosophy as it is developed in her Defence of Mr. Locke's Essay on Human Understanding. In this work, Cockburn argues that Locke's epistemological principles provide a foundation for the knowledge of natural law. Sheridan suggests that Cockburn's objective in defending Locke's moral epistemology was conditioned by her own prior commitment to a significantly un-Lockean theory of morality. In exploring Cockbum's views on morality in terms of their divergence from Locke's, the author hopes to (...) underscore the extent of Cockburn's intellectual independence and her philosophical creativity. (shrink)

14o JOURNAL OF THE HISTORY OF PHILOSOPHY 34: X .JANUARY t996 method of reading the dialogues in an ascending order of philosophical importance need not be reflected completely or consistently in the tetralogical scheme. I pass over the account of Thrasyllus' logos-theory which Tarrant derives from an elusive section of Porphyry's commentary on Ptolemy's Harmonics in order to discuss the more important conclusions he draws in chapter 6, "The Neopythagorean Parmenides." By carefully sifting passages in Proclus' commentary on the Parmenides (...) and Simplicius' commentary on the Physics, Tarrant adds to our still incomplete picture of the development of a Neoplatonic ontology out of the hypotheses of Plato's Parmenides. E. R. Dodds made a brilliant case in this regard for Moderatus, the late first century A.D. Neopythagorean, but Tarrant finds even earlier evidence for it by ascrib- ing to Thrasyllus this quasi-Neoplatonic, fivefold ontology: transcendent One, one-being = the intelligibles, the third principle = the soul, physical particulars, matter. Epistle 2's "King of all" is drawn into Tarrant's net as an "esoteric" or symbolic emblem of the transcendent One. He argues plausibly that, since Thrasyllus was instrumental in getting this and other Epistles included in the standard edition of Platonic works, the connections he finds among the Parmenides, the Epistles, and pas- sages in the latter commentators are not facile and are worthy of.. (shrink)

This volume will be the starting point for future discussion and research.

A complete system of classical Aristotelian logic intended for honors high school and college.

Ohne Rücksicht auf disziplinäre Schranken bringt dieses Buch verschiedene nicht-reduktionistische Lerntheorien miteinander ins Gespräch. In einem offenen Diskurs, der die Konzepte zueinander in Beziehung setzt, werden die unterschiedlichen Perspektiven kritisch abgewogen und hinsichtlich ihrer Stärken und Schwächen diskutiert.

Delo se loteva vprašanja aktualnosti pojma subjekta v filozofiji in politiki skozi analizo tistih avtorjev, ki so ga domnevno najbolj radikalno pokopali: pokaže, da vznik radikalno novega in problematika subjekta zavzema osrednje mesto v Deleuzovi filozofiji, kakor tudi v Lyotardovi pozni misli posvečeni praznini, v Foucaultovi obravnavi biopolitike in biooblasti, v delu Negrija in Hardta o Imperiju, ter nazadnje v Badioujevi predelavi temeljnih filozofskih kategorij biti, resnice in subjekta, na osnovi katerih je dandanes znova možna renesansa filozofije. Ta ima po (...) Badiouju štiri razsežnosti, ki se v delu Vznik subjekta nenehno prepletajo: »V osnovi želja filozofije implicira razsežnost upora: ni filozofije brez nezadovoljstva mišljenja v njegovem soočenju s svetom, kakršen je. Pa vendar želja filozofije vključuje tudi logiko: to je, prepričanje v moč argumenta in uma.«. (shrink)

The relationship of part to whole is one of the most fundamental there is; this is the first and only full-length study of this concept. This book shows that mereology, the formal theory of part and whole, is essential to ontology. Peter Simons surveys and criticizes previous theories, especially the standard extensional view, and proposes a more adequate account which encompasses both temporal and modal considerations in detail. 'Parts could easily be the standard book on mereology for the next (...) twenty or thirty years.' Timothy Williamson, Grazer Philosophische Studien. (shrink)

Proclus' Elements of Theology is a concise summa of the Neoplatonic system in its fully developed form; and for the student of late Greek thought second in importance only to the Enneads of Plotinus. Professor Dodds has provided a critical text based on a personal examination of some forty manuscripts, together with an English translation and a philosophical and linguistic commentary. First published in 1933, this second edition includes an Appendix of Addenda et Corrigenda and is widely regarded and (...) respected as the definitive edition of the text today. (shrink)

Ordinary people make moral judgments that are consistent with philosophical and legal principles. Do those judgments derive from the controlled application of principles, or do the principles derive from automatic judgments? As a case study, we explore the tendency to judge harmful actions morally worse than harmful omissions (the ‘omission effect’) using fMRI. Because ordinary people readily and spontaneously articulate this moral distinction it has been suggested that principled reasoning may drive subsequent judgments. If so, people who exhibit the largest (...) omission effect should exhibit the greatest activation in regions associated with controlled cognition. Yet, we observed the opposite relationship: activation in the frontoparietal control network was associated with condemning harmful omissions—that is, with overriding the omission effect. These data suggest that the omission effect arises automatically, without the application of controlled cognition. However, controlled cognition is apparently used to overcome automatic judgment processes in order to condemn harmful omissions. (shrink)

In 1972, the young philosopher Peter Singer published "Famine, Affluence and Morality," which rapidly became one of the most widely discussed essays in applied ethics. Through this article, Singer presents his view that we have the same moral obligations to those far away as we do to those close to us. He argued that choosing not to send life-saving money to starving people on the other side of the earth is the moral equivalent of neglecting to save drowning children (...) because we prefer not to muddy our shoes. If we can help, we must--and any excuse is hypocrisy. Singer's extreme stand on our moral obligations to others became a powerful call to arms and continues to challenge people's attitudes towards extreme poverty. Today, it remains a central touchstone for those who argue we should all help others more than we do. As Bill and Melinda Gates observe in their foreword, in the age of today's global philanthropy, Singer's essay is as relevant now as it ever was. This attractively packaged, concise edition collects the original article, two of Singer's more recent popular writings on our obligations to others around the world, and a new introduction by Singer that discusses his current thinking. (shrink)

Confirmation bias is one of the most widely discussed epistemically problematic cognitions, challenging reliable belief formation and the correction of inaccurate views. Given its problematic nature, it remains unclear why the bias evolved and is still with us today. To offer an explanation, several philosophers and scientists have argued that the bias is in fact adaptive. I critically discuss three recent proposals of this kind before developing a novel alternative, what I call the ‘reality-matching account’. According to the account, confirmation (...) bias evolved because it helps us influence people and social structures so that they come to match our beliefs about them. This can result in significant developmental and epistemic benefits for us and other people, ensuring that over time we don’t become epistemically disconnected from social reality but can navigate it more easily. While that might not be the only evolved function of confirmation bias, it is an important one that has so far been neglected in the theorizing on the bias. (shrink)

This chapter provides an introduction to higher-order metaphysics as well as to the contributions to this volume. We discuss five topics, corresponding to the five parts of this volume, and summarize the contributions to each part. First, we motivate the usefulness of higher-order quantification in metaphysics using a number of examples, and discuss the question of how such quantifiers should be interpreted. We provide a brief introduction to the most common forms of higher-order logics used in metaphysics, and indicate a (...) number of questions which can be raised in such systems using logical vocabulary alone. Using a further example, we return to applications of higher-order logics in metaphysics. We also mention key developments in the history of higher-order logic as it pertains to metaphysics. Finally, we mention certain arguments which have been raised against the use of higher-order logic, and some ways of responding to them. (shrink)

Acknowledgments 1. Culture Is Essential 2. Culture Exists 3. Culture Evolves 4. Culture Is an Adaptation 5. Culture Is Maladaptive 6. Culture and Genes Coevolve 7. Nothing about Culture Makes Sense except in the Light of Evolution.

Ever since Heidegger lectured on Nietzsche, philosophers have stressed the active side of the Übermensch, the self who aggressively consumes and exploits value. Sheridan Hough, however, argues that there is a distinctly receptive and passive side to the Nietzschean self, and thus a pervasive doubleness in Nietzsche's thought that hasn't been explored before. This doubleness is the focus of Hough's attention here. Hough argues that Nietzsche's favorite way to describe the self is to use opposed pairs of metaphors. The (...) sea and the land, the pursuit of archaeology and the "granite stratum" of the self, the child and pregnancy are tropes he uses to show the self as both an active critic of culture and a creation of that culture. Noon and shadow exemplify this dual thinking. The free spirit, according to Nietzsche, is dogged by a shadow, a shadow cast by the free spirit's efforts to overcome himself. Perfect noon—emblematic of the Übermensch—is the moment of ecstatic release for the free spirit. Thus the Übermensch is not a separate "superhuman" being but rather an ecstatic moment in the experience of free spirits. Hough succeeds in showing that the doubleness motif strikes deeper into the heart of Nietzsche's thinking than has been realized. Favorite Nietzschean images, such as that of pregnancy, suddenly take on new meaning when considered in this light. Careful to avoid a reductionist view, Hough adds significantly to our understanding of Nietzsche's contribution to modern thought. (shrink)

This volume breaks new ground by investigating the ethics of vulnerability. Drawing on various ethical traditions, the contributors explore the nature of vulnerability, the responsibilities owed to the vulnerable, and by whom.

Book reviewed in this article: Beginning Lives, by Rosalind Hursthouse. On Moral Medicine:Theological Perspectives in Medical Ethics, edited by Stephen E. Lammers and Allen Verhey. Quantitative Risk Assessment, edited by James M. Humber and Robert F. A Theory of Value and Obligation, by Robin Attfield. Ethical Issues at the Outset of Life, edited by William B. Weil Jr. and Martin Benjamin. Legal Frontiers of Death and Dying by Norman L. Cantor Having Your Baby By Donor Insemination:A Complete Resource Guide, by (...) Elizabeth Noble. (shrink)