The paper proposes (1.) a non-standard interpretation of the proverbial expression “deuteros plous” by giving a fresh look to Phaedo, 99c9-d1. Then (2.) it proceeds to the philosophical problem raised in this passage according to this interpretation, that is, the problem of the “hypothesis” or the “unproved principle”. It indicates finally (3.) the kernel of truth contained in the standard Interpretation and it concludes with some remarks on the “weakness of the logoi”.

The paper proposes (1.) a non-standard interpretation of the proverbial expression “deuteros plous” by giving a fresh look to Phaedo, 99c9-d1. Then (2.) it proceeds to the philosophical problem raised in this passage according to this interpretation, that is, the problem of the “hypothesis” or the “unproved principle”. It indicates finally (3.) the kernel of truth contained in the standard Interpretation and it concludes with some remarks on the “weakness of the logoi”.

Opinion has long been divided as to the exact interpretation of the phrase de tenero ungui, the Latin version of a Greek proverbial expression The competing explanations are: A. ‘from the depth of her being’, penitus. B. ‘from her earliest childhood’, ab infantia; that is, presumably, from the time when the nails were still soft like those of a very young baby.

An original form of poetical debate is elaborated in the 12th and 13th century in relation to court lyricism. Under the appellation of “jeux-partis” in “oil” tongue, they meet some success in the urban frame of the “puy d'Arras”. As they formulate a sophistry of love, they intersect a number of different formalisations such as the poetical, juridical and scholastic ones.What is at stake in the debate is expressed on the dilemmatic mode. The argumentation is worked out at large through (...) three basic enunciations: maxims, proverbs and images.The maxim, inscribed as it is in the lyrical discourse that it lays down as being axiomatical for love, has an ambivalent function: on one hand it is the enunciation one intends to dispute, on the other hand it is the form taken by the demonstration. As it combines with a syntax of demonstration it only brings out the illusion of dialectics incidentally revealing the reduddant tautology of “le jeu-parti”. Out of a number of 120 poems, there are no less than 80 proverbial expressions which articulate themselves on the context differently — although they do so in majority through assertive formulations — yet disrupting with its isotopy in so much as they illustrate and enunciate the rule at the same time. The process of examplarisation, in the form of imaged enunciations operate other alterations. If the proverb, descending from the empirical universe, universalizes the situation it refers to, the image alone proceeds inversely: from a general theme it gives an example of one or several anecdotical situations out of which the universalness of the rule emerges.Now, none of those enunciations proceeds from a demonstrative or even properly argumentative logic. They are enclosed in themselves. The interlocutors do not resume what has just been said, unless it be in a blunt form of refutation. The true formalisation is polemical. It consists in a discourse which handles irony, lightly touches insult and seeks after effect rather than reasoning. It builds up its own truth — contradictorily though — as a game played on an audience whose complicity is to be grasped and then requested — for truthfulness does lie right in the midst of the debate and asserts itself unendlessly, such as it is in “les disputes”, those contests between scholars. “Disputes” and “jeux-partis” promote a logic of controversy. They are “argumentations-spectacles”. The elaboration of truth lies elsewhere, in the “Summae” for example. Le “jeu-parti” is aporhetical. If ever there exists an answer to its questioning, it can be found in love poetry the form of which includes the “sic et non” of “la joy”, mirth and play on love. (shrink)

The proverbial obscurity of the Alexandra discourages conjecture, and Lycophron's editors have not been given to bold emendation. It may indeed seem that much has been suffered to pass unquestioned which no-one would think tolerable if it stood in the MSS. of Aeschylus, whose style Lycophron clearly sought to emulate. Yet despite the prophetic form of his Rahmenerzählung his manner of expression is far removed from the deliberate opacity, all too often accompanied by defective grammar , characteristic of (...) genuine apocalyptic prophecy, whether bona fide or post eventum, nor does the appeal of this rather bookish poetry lie in that power to enlist our sympathies for impossible dreams and lost causes beside which animadversions on syntactical abnormality seem stony-hearted. (shrink)

explanation of the mention of the goats of Scyros in [Hp.] Mul. I 44 in the context of dietary advices for nursing mothers.

The Good, the Bad, and the Beautiful Discourse about Values in Yoruba Culture Barry Hallen Reveals everyday language as the key to understanding morals and ethics in Yoruba culture. "This contrasts with any suggestion that in Yoruba or, more generally, African society, moral thinking manifests nothing much more than a supine acquiescence in long established communal values.... Hallen renders a great service to African philosophy." —Kwasi Wiredu In Yoruba culture, morality and moral values are intimately linked to aesthetics. The purest (...) expression of beauty, at least for human beings, is to possess good moral character. But how is moral character judged? How do actions, and especially words, reveal good moral character in a culture that is still significantly based on oral tradition? In this original and intimate look at Yoruba culture, Barry Hallen asks the Yoruba onisegun—the wisest and most accomplished herbalists or traditional healers, individuals justly reputed to be well versed in Yoruba thought and expression—what it means to be good and beautiful. Posed as an outsider wanting to gain understanding of how to speak Yoruba correctly, Hallen engages the onisegun and has them explain the subtleties and intricacies of Yoruba language use and the philosophy behind particular word choices. Their instructions reveal a striking and profound depiction of Yoruba aesthetic and ethical thought. The detailed interpretations of everyday language that Hallen supplies challenge prevailing Western views that African thought is nothing more than acquiescence to long-established religious or communal values. The philosophy of ordinary language reveals that moral reflection is indeed individual and that evaluations of action and character take place on the basis of clearly and logically delineated criteria. With the onisegun as his guides, Hallen identifies the priorities of Yoruba philosophy and culture through everyday expression and shows that there are rational pathways to both truth and beauty. Barry Hallen has taught philosophy at the Obafemi Awolowo University in Nigeria. He is a Fellow at the W. E. B. DuBois Institute for Afro-American Research at Harvard University and Visiting Professor of Philosophy at Morehouse College. He is coauthor of Knowledge, Belief, and Witchcraft: Analytic Experiments in African Philosophy. Contents Ordinary Language and African Philosophy Moral Epistemology Me, My Self, and My Destiny The Good and the Bad The Beautiful Rationality, Individuality, Secularity, and the Proverbial Appendix of Yoruba-Language Quotations Glossary of Yoruba Terms. (shrink)

In this uniquely and timely collection, David LaRocca offers us a thoughtful reminder that the very possibility and urgent task of thinking, of our acting and judging, ethics and politics, rests upon a willing exposure to an aspect of our everyday and ordinary experience that is hard to grasp and eludes most, perhaps all, epistemic criteria. Metaphysicians, mystics, and moral perfectionists of all stripes have called this 'the transcendental', thus risking the fatal misunderstanding that this means only 'the transcendent', leading (...) to the dualist assumption that we are citizens of two separate (earthly and heavenly) cities or (phenomenal and noumenal) worlds. Yet the truth is far more simple, if much harder to accept and then also live by. We are what we are, here and now. Yet we're not, therefore, irrevocably bound by what thus is said 'to be' -- much less by the proverbial powers that will always be -- in what we can still further imagine and aim or hope for, against the odds, as it were. In this brilliantly edited and introduced anthology, LaRocca presents us with the broadest selection of authors, philosophers, visionaries, and artists, who have expressed this simple, difficult truth and freedom in the most profound and varied ways."--Hent de Vries's review, p. [i]. (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

The historical period of the 18th and early 19th century is usually perceived as the high point of human self-emancipatory optimism. Specifically, the Enlightenment believed that reason would guide humanity from darkness to the light. Ay, there's the rub, so rhymes the Bard of Avon, for wherefrom arriveth the urge to flee the dark? The rationalist propensity to remodel and re-invent the world is testament to a dreary and pessimistic analysis of the human condition. Thus, the Enlightenment made a largely (...) self-content analysis of the natural, traditional and historical condition of humanity which suggested that underneath its emancipatory, rationalist optimism lurks an unspoken perspective on reality that, in the verse of Alexander Pope, on weak wings, from far, pursues [its] flights. In this dissertation, I have called that perspective the horror of existence : the tacit acknowledgment that whatever is naturally and historically presented to the human agent is to be treated with suspicion. Nietzsche even declared such squinty eyes part and parcel of the bad blood of Western metaphysics in its ignoble resentment towards the vitalistic full-bloodedness of existence. Immanuel Kant and Arthur Schopenhauer are the protagonists in the investigation into the pessimistic focal point that looms underneath the Enlightenment s alleged optimism. Three points of inquiry are central to unravelling this pessimism. First, it is to be established that Immanuel Kant the proverbial vanguard of the Aufklärung actually subscribed to a sense of pessimism. Virtuous duty is the code word of Kant s ethics: to act in a fashion in opposition to certain countermoral inclinations. While Kant calls such behavior autonomy in the supposed fullest sense of the term, such autonomy is lacking in appeal in comparison to the pursuit of happiness. If rational morality is left unassisted, it remains in the perennial danger of being ineffective. The human agent is ill-disposed towards the moral law and radically inclined to overturn the moral world order. Accordingly, Kant turns to certain religious tools to bestow a kind of moral education that would augment the appeal of morality without ever making the human agent in any way inclined to moral virtue. At best, the human agent is justified in his/her rational faith to moral progress. In sum, while Kant believed that immanent rationality is the appropriate guide for moral pursuits, it is lacking in appeal to the finite and frail human agent. Second, it is to be shown that Schopenhauer s more overtly pessimistic philosophy is a continuation of a certain philosophical impetus at work in Kant s philosophy. After Schopenhauer questions the irresistible appeal of rationality, he finds that the Kantian recalcitrance to morality could very well be understood as self-justified self-expression of a blind, amoral will. Since even Kant admitted that rationality lacks in appeal to draw humanity in line, why would rationality be the most intimate aspect of noumenal reality? Instead, the human agent is mired in a depravity from which only his/her own frail and quasi-powerless tools can facilitate an escape. Accordingly, an ethics of compassion, a sublime piece of art, a pessimistic religion and proper philosophical insight can facilitate an escape from reality and turn the human agent to blissful nothingness. Third, it is to be shown that Kant and Schopenhauer s specific sense of pessimism is a philosophical translation of a certain theological perspective on the interplay between nature and goodness. Instead of thinking about nature and good as on a continuum, the Protestant Reformation introduced a radical dualism between nature and goodness which requires nature to be radically reformatted. No good is to come from the exercise of nature: works do not justify. Similarly, Kant and Schopenhauer reiterate how a radical change in the normal behavior of the human agent is the only escape from his/her depraved condition. But how do you fuel a quest for health if that which would do the healing is diseased to its core? (shrink)

This article takes a linguistic perspective of argumentation, as proposed by Marion Carel and Oswald Ducrot with the “Théorie des blocs sémantiques” (SBT: Semantic Block Theory). This theory argues that the meaning of a linguistic entity is determined by a collection of discourses that this entity calls to mind. Describing the meaning of a word, a syntagm or an utterance amounts to specifying the argumentative linkages (“enchaînements argumentatifs”) allowed by these entities. We propose a semantic and argumentative analysis of syntagms (...) mujer fácil , femme facile [easy woman] and hombre fácil , homme facile [easy man] that, in Romance languages in particular, hold different meanings: both hombre fácil/homme facile describe a man’s character or nature, whereas mujer fácil/femme facile, in their most common usage, imply a certain sexual behavior. We will compare the argumentative linkages that make up the meaning of mujer fácil/femme facile with those of other expressions that are part of the same semantic block. Also, this analysis will connect the proposed description to certain proverbial discourse about women, and it will call attention to the role that these expressions can play in a persuasive strategy. (shrink)

A case could be made that the practice of philosophy demands a certain humility, or at least intellectual humility, requiring such traits as inquisitiveness, openness to new ideas, and a shared interest in pursuing truth. In the positive psychology movement, the study of both humility and intellectual humility has been grounded in the methods and approach of personality psychology, specifically the examination of these virtues as traits. Consistent with this approach, the chapter begins with a discussion of the examination of (...) intellectual humility as a “character trait,” comparing intellectual humility to various well-known traits in the personality psychology literature (e.g the “Big 5” and the “Big 2”) as well as other key traits such as the need for cognition and the need for closure. The chapter then turns to the proverbial issue of whether virtues in general, and intellectual humility in particular, are a matter of “nature”- that is, an innate trait determined by heritability, or “nurture” – a trait mostly shaped by situation and environment. While the chapter does not resolve the issue, it provides occasion for an examination of the role of situations in the expression of intellectual humility, and for the interaction of “situation” and “trait.” The chapter concludes with a discussion of how the interaction of trait with situation provides the most robust understanding of the psychology of any character virtue, including humility and intellectual humility. (shrink)

Thailand has a rich history of using aesthetics as a means of communication. This is seen not only in the communication of basic ideas, but aesthetics are also used to communicate the cultural values of the nation. Aesthetical images in Thailand have the tendency to dwell both in the realm of the mundane and the supernatural, in the daily and the esoteric. Historically, many faith traditions have used aesthetics as an effective form of communication, including Buddhism, Brahmanism, as well as (...) other local expressions of deities across the country. Art plays a large role in the daily communication of religious values and concepts. -/- While Christianity has a rather long history in Thailand, the large-scale impact that Christianity, and specifically Protestantism, has had is rather minimal. There can be a myriad of reasons for this, but one potential possibility is Christianity’s lack of an aesthetical engagement upon and within Thai culture. This potentially is not an issue of only the Protestant church in Thailand but also stems from some of the western Christian roots throughout its faith tradition. One finds a chasm between aesthetical practices and faith from the Heidelberg Confession, in which Christians became so worried about the ramifications of idol worship, that they threw out the proverbial ‘baby with the bathwater’ and basically condemned the use of icons and other forms of art in western Protestantism. -/- Therefore, this paper will examine the relationship between Thai culture and Christianity, trying to remove the western biases in Christianity and will attempt to suggest new ways that the Thai Christian Church may develop organic, indigenous Thai art, that can be used as a more effective means of communication. If Christianity wants to effectively convey its concepts into Thai culture, it must value aesthetics as a means of communication. Is it possible that Christianity could not only communicate a more effective message in Thailand, but also that Christianity could experience a more robust self-analyzation of its core concepts through Thai aesthetics? Therefore, one needs to explore the ways that Christianity may be able to better understand itself through current Thai aesthetical practices. These concepts will be explored to develop a more robust and organic way of communicating the Christian concepts through a Thai paradigm. (shrink)

Do these lyrics ring true to you? When truth rings, when it oscillates, it reverberates in one’s soul and imagination. These lyrics confer a feeling of sincerity that does not translate without a certain context: the rhythm, rawness, and rhyme open the ear of the listener to retrieve this depiction of an almost unimaginable world expressed from an equally difficult-to-imagine perspective. For some, while the veracity of this description is beyond the pale of their reality, the significance, the proverbial (...) weight of these lyrics, resonates in a different register of truth that follows from a sense of their honesty.Yet, for other listeners these lyrics cannot be heard in this register. They instead must be a literal... (shrink)

Prayer has long been a staple in the proverbial Jewish medical toolbox. While the vast majority of relevant prayers seek renewed health and prolonged life, what might prayers for someone to die look like? What ethical dimensions are involved in such liturgical expressions? By examining both prayers for oneself to die and prayers for someone else to die, this essay discerns reasons why it may be good and even necessary to pray for a patient's demise.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Asura’s Harp: Engagement with Language as Buddhist PathKenneth K. TanakaAsura’s Harp: Engagement with Language as Buddhist Path. By Dennis Hirota. Heidelberg: Universitätsverlag, 2006. 156 pp.In Asura’s Harp, Hirota focuses on the Pure Land Buddhist thought of Shinran (1173–1263), the founder of Jōdo Shinshō school and one of the major figures of Japanese Buddhism. I believe Hirota’s main argument of the book is succinctly expressed on its back cover (...) blurb: “Unlike monastic traditions that seek the eradication of delusional attachments through transcendence of ordinary thought and speech, Shinran teaches that human existence is inevitably characterized by linguisticality and that the genuinely practicable path to realization lies in engagement with language.” For Hirota, language plays a central role in the religious transformative experience called Shinjin, considered a genuine awareness of the self and the world. This way of understanding religious language goes against the dominant view, especially that of Zen with its proverbial “beyond words” approach 1 and contemporary Buddhist discussions on language as being limited and even false.In the prologue of the book, Hirota points out the growing convergence in the Buddhist outlook and the current interest in Western thought. Both traditions see that “persons are not autonomous agents making judgments and initiating actions independently of others, their past, and their location in society and history” (p. 2). Instead, humans are now seen to be situated in particular temporal and spatial circumstances, with its attendant limitations, prejudices, and finitude. In terms of language, this realization has led to a shift in Western thought from metaphysical to hermeneutical concerns, thus resonating with Buddhism’s view of ordinary language [End Page 182] as “inevitably warped by attachments and informed by falsely reifying conceptualization” (p. 2).At the same time both traditions recognize the adaptive use of language, as seen especially in the Buddhist conception of “skillful means,” to provide guidance to self-realization and awareness. This, Hirota believes, offers an opportunity for a dialogue between contemporary Western thought and Buddhism.With this as the backdrop, Hirota sets out to clarify the nature and significance of language in Shin Pure Land thought with an intent to contribute to this broader discussion of religious language across religious and cultural boundaries, a formidable task for any scholar. However, there is no one, in my opinion, more qualified to carry out this task than Hirota, for he served as the chief translator of the twenty-year project that culminated in the Collected Works of Shinran (CWS)2 and has been publishing insightful and provocative writings in the study of language from Shin Buddhist perspective in both English and Japanese.3 There are very few, if any, scholars in Japan dealing with this subject with the ability to talk about it in a cross-religious and disciplinary context. In more recent years, he has taken his findings to gatherings outside Japan, particularly to Europe. In fact, this book is, in large part, an outcome of the talks he delivered several years ago in the Fürst Franz-Josef and Fürstin Gina Memorial Philosophy Lecture Series at the Internationale Akademie für Philosophie in Liechtenstein.Before I focus in on some of the central points in this book, it would be helpful to get a bird’s eye view of this book, Asura’s Harp by listing the chapter titles. The book comprises four parts: “Buddhist View of Language,” “Engagement with the Pure Land Teaching,” “Truth as Transformative Event,” and “Language and Religious Awareness.” Part 1 contains three chapters: “Shinran’s Buddhist Critique of Language,” “Reality as Language,” and “The Dialogical Structure of True Language.” Part 2 also includes three chapters: “Modes of Engagement with the Teaching,” “The Encounter with Truth,” and “The Context of Encounter.” Part 3 contains two chapters: “Shinran Face to Face” and “Hearing the Vow.” In part 4, we find two chapters: “Language and Realization of Shinjin” and “Living from the Name of Buddha.” The postscript, “Shinran and Hermeneutical Thought,” is a helpful aid in getting a little more insight into Hirota’s view on language.As is evident by the chapter titles, there is much to comprehend and digest, particularly... (shrink)

If validated, diet‐derived foreign microRNA absorption and function in consuming vertebrates would drastically alter our understanding of nutrition and ecology. RNA interference (RNAi) mechanisms of Caenorhabditis elegans are enhanced by uptake of environmental RNA and amplification and systemic distribution of RNAi effectors. Therapeutic exploitation of RNAi in treating human disease is difficult because these accessory processes are absent or diminished in most animals. A recent report challenged multiple paradigms, suggesting that ingested microRNAs (miRNAs) are transferred to blood, accumulate in tissues, (...) and exert canonical regulation of endogenous transcripts. Independent replication of these findings has been elusive, and multiple disconfirmatory findings have been published. In the face of mounting negative results, any additional positive reports must provide the proverbial “extraordinary proof” to support such claims. In this article, we review the evidence for and against a significant role for dietary miRNAs in influencing gene expression, and make recommendations for future studies.Also watch the Video Abstract. (shrink)

The past 20 years witnessed a growing interest in philosophy of language and linguistics for expressives and, in particular, for slurs – terms that target people and groups on accounts of their belonging to a certain category (typically having to do with ethnic origins, gender, sexual orientation, religion, and so on). This lively debate often relies on empirical claims – “these terms are not derogatory in this context”, “their use affects the audience’s beliefs and attitudes in this and that way”, (...) “reporting a slur backfires”, and so on and so forth. Some scholars have tried to back up their claims with existing empirical data from psychology and psycholinguistics, while a few others went and investigated their questions on experimental grounds. In this chapter, I offer an overview of this experimental literature on slurs and derogatory labels, and I illustrate an array of ways in which the philosophical issues that slurs raise to the proverbial armchair benefit from empirical studies in psychology, psycholinguistics, and experimental philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Franco-Ferraz, Theism and the Theatre of the Mind MiguelA. Badia-Cabrera In "Theatre andReligiousHypothesis,"1 MariaFranco-Ferraz offersan eloquent and reasoned argument in favour ofa fresh and different sort of hermeneutic approach to the Dialogues Concerning Natural Religion as a suitable means to disentangle the web of proverbially difficult philosophical questions posed by Hume in that work. In order to arrive at a coherent understanding ofthe Dialogues as a whole and (...) perhaps also to calm the sense of bafflement which the confrontation with this enigmatical text always provokes, many Hume scholars have taken as a point of departure and clue for unravelling it either one or two of Hume's principal philosophical doctrines or a presumedly unitary view of Hume's philosophy in general. Equipped with one or both of these instruments, they proceed to dissect the arguments of the Dialogues with the intention of determining what Hume's position really is. This task also almost invariably ends by assigning the victory in the dialectical struggle and the representation of the author's 'true' opinions to the character (sometimes even more than one) in whom they are more or less able to find the purest expression ofwhat theyhave previously decided is the kernel oressence ofHume's philosophy. Franco-Ferraz has taken a very different route. For her the key point of the Dialogues lies in the fictional setting in which the theological discussion takes place. She goes on to show that the literary form of the Dialogues is intrinsically connected with its philosophical content so as to serve to elucidate the precise nature ofthe conclusion which is established at the end, in Part XII. In other words, the theatrical structure facilitates a more profound and detailed investigation ofthe problems dealing with the existence and nature of God. In fact, Hume offers no final solutions to these problems and thereby none ofthe characters ofthe Dialogues can properly be said to present the victorious point of view or the one counting with the complete authority ofthe author ofthe play: The most important aspect of this text is the interaction between the different characters' points of view, which, by being in confrontation with each other, undergo reciprocal transformations. (Franco-Ferraz, 228) Volume XVI Number 2 131 MIGUEL A. BADÍA-CABRERA With this one cannot but agree. In addition she clinches her case by 'ai-trull·/ and convincingly showing that there is a profound relation between this theatrical form and some substantive philosophical theses which Hume developed in the Treatise, the first Enquiry, and The Natural History ofReligion. In reality, the theatre metaphor clarifies the sense ofthose philosophical doctrines, which in turn throw light on and corroborate her main contention about the conclusion of the Dialogues. For according to her, any definitive solution to the problems ofnatural theology is not presented at the end by any ofthe characters on behalfofa God-like author (Dieu auteur), and furthermore this deus ex machina solution would conflict especially with Hume's conception of the mind as being une pièce sans théâtre, a drama without a stage (Franco-Ferraz, 234). Such is the substance ofher thesis, if I have succeeded in giving a fairrepresentationofit. I thinkthatherinterpretation providesa novel outlook and one fruitful means ofaccess to an adequate understanding of the Dialogues. But I am quite hesitant with some particular and important aspects ofher reading of that text for the 'inconveniences', in Philo's sense ofthe word, which seem to follow from it, and alsohave a few difficulties in assessing the exact import of one or two of her central claims due to the somewhat vague manner in which, I think, these are formulated. First, at the verybeginningofher paper, Franco-Ferraz quotes the followingpassagefromPartIIIoftheDialoguesin which Demeaobjects to Cleanthes' claim, defended by two very ingenious analogies, that an orderly world like a coherent, articulate speech will always be taken as a sign ofintelligent design: When I read a volume, I enter into the mind and intention of the author: I become him, in a manner, for the instant; and have an immediate feeling and conception of those ideas, which revolved in his imagination, while employed in that composition. (D 155-56) I take issue with... (shrink)

In trying to make sense out of our behavior, we reach a point at which we stop talking about what we did and start talking about what we wish we had done, about what we mean to do next. But we think we are still talking about our motives and intentions in what we did. How do we know when we cross the line between finding out what actually happened and ascribing to a situation what we think ought to have (...) happened?This is a serious question, precisely because we usually do not know the difference between what we do and what we imagine that we do. For since all action is governed by our conception of “how we would have it” and “what we would bring about,” we can always honestly claim to have meant what we did for the best. We frequently find ourselves in the situation in which we don't know why we did what we did, but by casting about, we can always turn up a purpose for which our action must have been meant - a purpose which we now perceive.The reasons we ascribe to our actions, like our excuses, are governed by the demands made on us now, rather than by the factual content of what we did. Thus the behavior of reason-giving or excusing is meant to satisfy the social situation in which we presently find ourselves: the demand for explanation, the need to be “in the right,” the need to reinforce our convictions. The verbal account of what we did is thus literally about (as representing and serving) where we are now rather than what we did then.Our verbal account is about the context of social obligation in which we have to explain ourselves, not about the behavior we claim to interpret. This is why, proverbially, we will give any excuse which will satisfy the accuser and why “understanding” i.e. inventing reasons for our conduct, is no corrective. The addict, alcoholic, neurotic and criminal recidivist are frequently rational and even persuasive in giving reasons for what they do. And we wonder why if they understand their problems so well they can't do something about them. The problem is that the habitué doesn't understand his behavior at all. He is simply trained to give a certain after the fact explanation as a conditioned response to his habitual behavior. What he “understands” is not what makes him go back to the pill, the bottle or to crime, but what to tell people each time after he does. Naturally, when the habit-triggering occasion arises, it is never that reason - the stated one - which leads to repetition, but some new, special crisis, difficulty or impulse.Bluntly stated, our reasons and justifications have little or nothing to do with our actual behavior. We continue to suppose that we intend to do this or that immediately before we do it. But insofar as this intention is expressed it is a separate verbal act having its own conditions and consequences; insofar as it is unexpressed (and in general) intention is disclosed only through conduct. It is only the powerful social convention of justification that supports the illusion that verbal expressions are causal antecedents of acts.Two conclusions follow. First, the “sense” of our activity is either evident in the activity or else it is nonexistent, since not yet discovered meaning is meaning not yet achieved. Second, our verbal justifications are acts having a peculiar sense of their own. They express the relation of our convictions and objectives to the convictions and objectives of those to whom our explanations are addressed. Here is where, in the process of making sense of our activity, the crossover from discovery to invention occurs. This is why we may never discover the extent to which our justifications are inventions superimposed on the conduct they are supposed to represent. Insofar as our justification satisfies those to whom it is addressed, (including ourselves) it is right. But we take this rightness, which is actually the the compatibility of our values and objectives, to be the rightness of the act in question. The reasons we give for our actions make great sense, but despite our invincible “rightness” our actions, taken in themselves, make no more sense.What are our options? They are either to put ourselves in the power of those to whom we explain ourselves, or to take responsibility for our own nonsense. Take our conduct out of the medium of talk - of habitual justification - in which it is suspended and sustained, and what is it? Whatever has become of the “importance” of our appointments, our meetings, our appearances, our obligations, our consistency? Experience, not persuasion and reasoning, is the corrective. Only the direct experience of futility is powerful enough to break our addiction to justification. (shrink)

Despite the frequent use of the antithesis of parua and magna in Latin literature, the expression parua magnis in Pliny 5,6,43–44 need not be read as proverbial but as a quotation of Vergil, georg. 4,176. This attribution follows from the naming of Vergil and of Aratus in epist. 5,6,43–44. Combined allusions as in 5,6,43–44, consisting of a quotation, the naming of the author and/or narrative structures, are a pattern in the corpus of the younger Pliny’s correspondence. The context (...) of georg. 4,169–179, too, supports the attribution of the phrase as a quotation, since in Vergil’s lines a comparison of genres is made, which Pliny adopts for his own literary positioning in the descriptions of villas in epist. 2,17 und 5,6. Further, the attribution to Vergil’s didactic poem, in combination with the reference to Aratus, which other interpretations hardly take into account, permits a new understanding of the narrative structure of the villa descriptions and their allusive affinity not only to ecphrasis but also to didactic poetry. (shrink)

Preview: /Review: Justo Serrano Zamora, Democratization and Struggles Against Injustice (London and New York: Rowman and Littlefield, 2021), 232 pages./ “No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters, and righteousness like a mighty stream.” In amongst a plethora of memorable metaphors and other impressive rhetorical devices, we find in Martin Luther King Jr’s most iconic speech (delivered at the March on Washington, August 28, 1963, on the steps of the Lincoln (...) Memorial – commonly known as the “I have a Dream” speech): this biblical expression of the fluid quality of the pursuit of justice. Quoting the Jewish prophet Amos, who was outraged by wealth disparities in the ancient Northern kingdom of Israel, King taps into a common imagery of the forward march of justice as a matter of a watery bursting forwards, aiming ultimately for a calmer, more settled state of affairs. This kind of imagery is widespread in popular culture. For example, people can be said to “flood” or “pour into” the streets at moments of mass mobilization; in response, the police often seek to “contain the flow” of crowds at protests; and a successful revolution is often thought of as a “turning of the tide.” This lexical field of water in motion evokes both a chaotic sense of the unexpected and the emergence of an underlying order seeking to overcome the existing political order. It also suggests that the justice-oriented masses are moved, at best, in a semi-conscious way by events that typically start outside of themselves – like a growing ripple caused by the proverbial pavé dans la mare. The strategic benefit of this kind of talk is that it presents the struggle for justice as natural and, in some sense, inevitable; while injustice is presented as merely artificial and temporary, for nature eventually reclaims its rights. To put it simply: φύσις meets νόμος, φύσις defeats νόμος. This way of speaking is both dramatically and rhetorically powerful. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

In this paper, we introduce the Japanese philosopher Tetsurō Watsuji’s phenomenology of aidagara (“betweenness”) and use his analysis in the contemporary context of online space. We argue that Watsuji develops a prescient analysis anticipating modern technologically-mediated forms of expression and engagement. More precisely, we show that instead of adopting a traditional phenomenological focus on face-to-face interaction, Watsuji argues that communication technologies — which now include Internet-enabled technologies and spaces — are expressive vehicles enabling new forms of emotional expression, (...) shared experiences, and modes of betweenness that would be otherwise inaccessible. Using Watsuji’s phenomenological analysis, we argue that the Internet is not simply a sophisticated form of communication technology that expresses our subjective spatiality (although it is), but that it actually gives rise to new forms of subjective spatiality itself. We conclude with an exploration of how certain aspects of our online interconnections are hidden from lay users in ways that have significant political and ethical implications. (shrink)

Guy Sircello's analysis of the varieties of expression and his use of them to justify a particular view of the human mind clarify a number of controversial topics in contemporary philosophy, among them the notion of "artistic acts," language as expression, the expression of ideas, expressions as "natural signs," and the nature of the causal relationship between an expression and what is expressed. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to (...) again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Faith is often regarded as having a fraught relationship with evidence. Lara Buchak even argues that it entails foregoing evidence, at least when this evidence would influence your decision to act on the proposition in which you have faith. I present a counterexample inspired by the book of Job, in which seeking evidence for the sake of deciding whether to worship God is not only compatible with faith, but is in fact an expression of great faith. One might still (...) think that foregoing evidence may make faith more praiseworthy than otherwise. But I argue against this claim too, once more drawing on Job. A faith that expresses itself by a search for evidence can be more praiseworthy than a faith that sits passively in the face of epistemic adversity. (shrink)

This chapter contains sections titled: The “Grammaticalization of Experience” What is Exemplification? Exemplifying Feeling Poetry and the Resources of Grammar Example “Of ” and Example “As”.

Philosophers ask just whose expression, if anyone’s, we hear in lyric poetry. Walton provides a novel possibility: it’s the reader who “uses” the poem (just as a speech giver uses a speech) who makes the language expressive. But worries arise once we consider poems in particular social or political settings, those which require a strong self-other distinction, or those with expressions that should not be disassociated from the subjects whose experience they draw from. One way to meet this challenge (...) is to consider the poem expressive of a plural subject, which frees us from looking for a particular individual whose voice we hear in the work, whether she be fictional or actual. Some lyrics give voice to a group whose experience is attended to in the work. This may be done through a posited fictional speaker, but the ontology of the speaker is shown to be less important. Attending to a group whose concerns are voiced allows us to explain how poems can manage to address our-worldly concerns even when lacking actual persons whose expressions we encounter in the poems. (shrink)

Hate speech employs discriminatory epithets to insult and stigmatize others on the basis of their race, gender, sexual orientation, or other forms of group membership. The regulation of hate speech is deservedly controversial, in part because debates over hate speech seem to have teased apart libertarian and egalitarian strands within the liberal tradition. In the civil rights movements of the 1960s, libertarian concerns with freedom of movement and association and equal opportunity pointed in the same direction as egalitarian concerns with (...) eradicating racial discrimination and the social and economic inequalities that this discrimination maintained. But debates over hate speech regulation seem to force one to give priority to equality or to liberty. On the one hand, egalitarian concerns may seem to require restricting freedom of expression. Hate speech is an expression of discriminatory attitudes that have a long, ugly, and sometimes violent history. As such, hate speech is deeply offensive to its victims and socially divisive. Though one might well be reluctant to restrict speech, it might seem that the correct response to hate speech, as with other forms of discrimination, is regulation. On the other hand, libertarian concerns may seem to constrain the pursuit of equality. Though one may abhor hate speech and its effects, the cure might seem at least as bad as the disease. Freedoms of expression are among our most fundamental liberties. Offensive ideas are part of the price one must pay to protect these constitutional rights. (shrink)

So-called basic self-knowledge (ordinary knowledge of one's present states of mind) can be seen as both 'baseless' and privileged. The spontaneous self-beliefs we have when we avow our states of mind do not appear to be formed on any particular epistemic basis (whether intro-or extro-spective). Nonetheless, on some views, these self-beliefs constitute instances of (privileged) knowledge. We are here interested in views on which true mental self-beliefs have internalist epistemic warrant that false ones lack. Such views are committed to a (...) form of disjunctivism about basic self-knowledge. We begin by presenting an influential disjunctivist view about perceptual knowledge (Pritchard 2008, 2012, and elsewhere) and articulate a problem for it. We then consider two versions of disjunctivism about basic self-knowledge – one 'constitutivist', the other 'neo-expressivist' – and argue that both can avoid an analogue of this problem for self-knowledge. However, we give reasons for preferring the disjunctivism yielded by neo-expressivism. We conclude by considering briefly whether an acceptable disjunctivism about mental self-beliefs can point the way toward a sensible disjunctivism about perceptual beliefs. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 4, Page 473-483, May 2022. In my recent book Freedom of Expression as Self-Restraint, I expound and defend the moral principle of freedom of expression. This article recounts a few of the main strands of the exposition in that book, and it touches upon the justification for the principle of freedom of expression. Supplementing the abstract ideas broached in the article are several illustrative examples that render the abstractions more accessible.

Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if (...) its expressive properties are purely sonic, then music expresses less than we think it does. And if the expressive properties of music are visual as well as sonic, then music is not what we think it is—it is not purely sonic. (shrink)

This essay ties together some main strands of the author’s research spanning the last quarter-century. Because of its broad scope and space limitations, he prescinds from detailed arguments and instead intuitively motivates the general points which are supported more fully in other publications to which he provides references. After an initial delineation of several distinct notions of meaning, the author considers such a notion deriving from the evolutionary biology of communication that he terms ‘organic meaning’, and places it in the (...) context of evolutionary game theory. That provides a framework for a special type of organic meaning found in the phenomenon of expression, of which the author here offers an updated characterization while highlighting its wide philosophical interest. Expression in turn generalizes to a paradigmatic form of human communication—conversation—and section 4 provides a taxonomy of conversation-types while arguing that attention to such types helps to sharpen predictions of what speakers say rather than conversationally implicate. We close with a view of fictional discourse on which authors of fictional works are engaged in conversation with their readers, and can provide them with knowledge in spite of the fictional character of their conversation. Such knowledge includes knowledge of how an emotion feels and is thus a route to empathy. (shrink)

We provide a conceptual framework and a case study of how an organization links its mission and espoused values with its operating practices. Conceptually, we locate this mission integration theme within Simons’ management accounting and control framework, and then adapt Schatzki’s site ontology of social practice to develop general research expectations for case studies of espoused values/practice linkages. Empirically, we apply the conceptual framework to a case study of linkages among an actual company’s espoused values, human resource practices, and financial (...) management during its 40-plus year history. The concluding section summarizes the study and discusses its implications, limitations, and opportunities for future research. (shrink)