The story of this book of 'materials on Ludwik Fleck' is also the story of the reception of Ludwik Fleck. In this volume, some essential materials which have been produced by that reception have been gathered together.

Levinas on the possibility and need for humanist ethics In Humanism of the Other, Emmanuel Levinas argues that it is not only possible but of the highest exigency to understand one's humanity through the humanity of others. In paperback for the first time, Levinas's work here is based in a new appreciation for ethics and takes new distances from phenomenology, idealism, and skepticism to rehabilitate humanism and restore its promises. Painfully aware of the long history of dehumanization that reached its (...) apotheosis in Hitler and Nazism, Levinas does not underestimate the difficulty of reconciling oneself with another. The humanity of the human, Levinas argues, is not discoverable through mathematics, rational metaphysics, or introspection. Rather, it is found in the recognition that the other person comes first, that the suffering and mortality of others are the obligations and morality of the self. (shrink)

This elevating pull of an ethics that can account for the relation of self and other without reducing either term is the central theme of these essays.

The reputation and influence of Emmanuel Levinas has grown powerfully. Well known in France in his lifetime, he has since his death become widely regarded as a major European moral philosopher profoundly shaped by his Jewish background. A pupil of Husserl and Heidegger, Levinas pioneered new forms of exegesis with his post-modern readings of the Talmud, and as an ethicist brought together religious and non-religious, Jewish and non-Jewish traditions of contemporary thought. Richard A. Cohen has written a book which uses (...) Levinas' work as its base but goes on to explore broader questions of interpretation in the context of text-based ethical thinking. Levinas' reorientation of philosophy is considered in critical contrast to alternative contemporary approaches such as those found in modern science, psychology, Nietzsche, Freud, Husserl, Heidegger, Sartre, Merleau-Ponty, Derrida and Ricoeur. Cohen explores a manner of philosophizing which he terms 'ethical exegesis'. (shrink)

The death of Imre Lakatos on February 2, 1974 was a personal and philosophical loss to the worldwide circle of his friends, colleagues and students. This volume reflects the range of his interests in mathematics, logic, politics and especially in the history and methodology of the sciences. Indeed, Lakatos was a man in search of rationality in all of its forms. He thought he had found it in the historical development of scientific knowledge, yet he also saw rationality endangered everywhere. (...) To honor Lakatos is to honor his sharp and aggressive criticism as well as his humane warmth and his quick wit. He was a person to love and to struggle with. PAUL K. FEYERABEND ROBERT S. COHEN MARX W. WARTOFSKY TABLE OF CONTENTS Preface VII JOHN WORRALL / Imre Lakatos : Philosopher of Mathematics and Philosopher of Science JOSEPH AGASSI / The Lakatosian Revolution 9 23 D. M. ARMSTRONG / Immediate Perception w. W. BAR TLEY, III/On Imre Lakatos 37 WILLIAM BERKSON / Lakatos One and Lakatos Two: An Appreciation 39 I. B. COHEN / William Whewell and the Concept of Scientific Revolution 55 L. JONATHAN COHEN / How Can One Testimony Corroborate Another? 65 R. S. COHEN / Constraints on Science 79 GENE D'AMOUR/ Research Programs, Rationality, and Ethics 87 YEHUDA ELKANA / Introduction: Culture, Cultural System and Science 99 PA UL K. (shrink)

GEOMETRY AND SEMANTICS: AN EXAMINATION OF PUTNAM'S PHILOSOPHY OF GEOMETRY There are many ways to shed light on how and why our conception of geometry changed during the last two centuries. One fruitful strategy is to relate those ...

An introduction to the ethical and ontological import of Levinas' philosophy.

Detailed exposition of the nine layers of signification of human mortality according to Emmanuel Levinas's phenomenological and ethical account of the meaning and role of death for the embodied human subject and its relations to other persons. Critical contrast to Martin Heidegger's alternative and hitherto more influential phenomenological-ontological conception, elaborated in "Being and Time", of mortality as Dasein's anxious and revelatory being-toward-death.

Philosophically, there is a book which was a tremendous experience for me: Eino Kaila's hychology of the Person ality _ His thesis that man lives strictly according to his needs - negative and positive - was shattering to me, but terribly true. And I built on this ground. Ingmar Bergman J 1. This introductory essay is neither intended to be a full presentation nor to be a critical evaluation of the contributions to philosophy made by Eino Kaila. Kaila's work will (...) speak to the reader through the four papers here published in English translation from the German. They belong in the tra dition of the Vienna Circle and of logical empiricism. They cover, however, only one period or sector of Kaila's rich and varied life-work. This is the sector best integrated into the mainstream of contemporary philosophic thinking. The primary aim of this essay is to portray an impressive intellectual personality and to make a modest contribution to Finnish and Scandinavian intellectual history. Much of its content may be thought to be of 'local' relevance only. But considering the position which Kaila held in his country and considering his decisive influence on the development of philosophy in Finland, I hope that this local background will also interest an international circle of readers. (shrink)

The various cosmological proposals by Einsteinian relativists seek to show the structure of the world as a consequence of the basic notions of relativity. In particular, the irrelevance of the state of motion of an observer to his description of the fundamental laws of nature is to be maintained. Furthermore, gravity is understood as being a description of the fact that particles move along certain minimal paths in non-Euclidean space. In this theory, the effect of one material particle on another (...) particle in the old-fashioned sense of gravitational attraction becomes indirect; that is, a particle moves on a minimal path in a space having a degree of curvature dependent on the material entities which exist in it, rather than having its path bent by the attraction between it and other material bodies, all of them existing in an absolute or receptacle-like space. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas on Art and AestheticismGetting “Reality and Its Shadow” RightRichard A. Cohen (bio)1. The Standard Misreading of Levinas on Arta. IntroductionMuch has been written in the secondary literature about Levinas and art and about Levinas and literature more specifically. In addition to Maurice Blanchot’s observations in The Writing of the Disaster, which is more a primary text than a secondary source, two exceptional studies — well-written, insightful, nuanced, erudite (...) — in English on Levinas and literature are Robert Eaglestone’s book of 1997 entitled Ethical Criticism: Reading after Levinas and Jill Robbins’s 1999 book entitled Altered Reading: Levinas and Literature.1 No doubt there are other fine studies, but these two will be sufficient for our purposes. They are scholarly in the best sense, effecting to understand Levinas first of all, hence hermeneutically sympathetic, and at the same time taking critical distances, articulating reservations, basically unconvinced by Levinas’s claims. Unfortunately, given all their considerable virtues, these books are also hampered by a serious flaw, one that unhappily appears in all too much of the secondary literature on Levinas and art. [End Page 149] Despite their good will and intelligence, both books fundamentally misunderstand the relation of Levinas’s thought on and to art, and thus also his relation to literature more specifically, because they misconstrue the nature and the status of Levinas’s account of art within his philosophy. Surely this is serious and unfortunate. One aim of the present essay is to expose this flaw, despite its pervasiveness and entrenchment. Another aim, more positive and ultimately the means by which to accomplish the first, is to present a faithful account of what Levinas really has to say about art.Counter to the misgivings leveled against Levinas in the above two books, not to mention the many commentaries that repeat more or less the same things, the present article proposes two theses in his defense. To the charge that Levinas has misrepresented art, my first claim is that Levinas does not misrepresent art and, indeed, that he has a fine sense of it. To the charge that Levinas is hostile to art, my second claim is that Levinas is not at all hostile to art, one sign of which — noticed by both critics — is the literary and aesthetic references that abound in his own writings. That is to say, contrary to his critics, Levinas grasps quite well the nature and the value of art. His own literary practices, found throughout his own writings, some of them quite obvious, such as exegeses of Shakespeare and repeated citations taken from Dostoevsky and Grossman, not to mention a wealth of other references and allusions to artists and writers, and, of course, including explicit comments and discussions about art, all these are consistent with and help underwrite my larger claim that Levinas understands and values art and, indeed, that he understands it very well and values it highly.To be sure, and no one can mistake this, Levinas’s philosophy is ultimately an ethics and not an aesthetics. The ultimum verbum belongs not to aesthetics but to moral responsibility and the quest for justice. It is here, for those who would make aesthetics ultimate, that the rub lies, here that we find the spur and speculum for their distortion and darkening of Levinas on art. All the more necessary, then, are the two sides of the present essay: to understand properly what Levinas is saying by means of a careful reading of his one article devoted entirely to [End Page 150] art, “Reality and Its Shadow,” to discern in as unprejudiced a fashion as possible what Levinas actually has to say about art and its value, and by so proceeding to unmask the inadequacies of Levinas’s aesthetic critics. Getting Levinas right certainly does not foreclose criticism, by any means. It is, nevertheless, the first step to serious criticism or to acceptance. Getting him wrong, however, goes nowhere at all, because it has not even begun.Inasmuch as their mishandling of Levinas is in an important sense basically the same, in the following I treat Robbins’s Altered Reading and Eaglestone’s... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas on Art and AestheticismGetting “Reality and Its Shadow” RightRichard A. Cohen (bio)1. The Standard Misreading of Levinas on Arta. IntroductionMuch has been written in the secondary literature about Levinas and art and about Levinas and literature more specifically. In addition to Maurice Blanchot’s observations in The Writing of the Disaster, which is more a primary text than a secondary source, two exceptional studies — well-written, insightful, nuanced, erudite (...) — in English on Levinas and literature are Robert Eaglestone’s book of 1997 entitled Ethical Criticism: Reading after Levinas and Jill Robbins’s 1999 book entitled Altered Reading: Levinas and Literature.1 No doubt there are other fine studies, but these two will be sufficient for our purposes. They are scholarly in the best sense, effecting to understand Levinas first of all, hence hermeneutically sympathetic, and at the same time taking critical distances, articulating reservations, basically unconvinced by Levinas’s claims. Unfortunately, given all their considerable virtues, these books are also hampered by a serious flaw, one that unhappily appears in all too much of the secondary literature on Levinas and art. [End Page 149] Despite their good will and intelligence, both books fundamentally misunderstand the relation of Levinas’s thought on and to art, and thus also his relation to literature more specifically, because they misconstrue the nature and the status of Levinas’s account of art within his philosophy. Surely this is serious and unfortunate. One aim of the present essay is to expose this flaw, despite its pervasiveness and entrenchment. Another aim, more positive and ultimately the means by which to accomplish the first, is to present a faithful account of what Levinas really has to say about art.Counter to the misgivings leveled against Levinas in the above two books, not to mention the many commentaries that repeat more or less the same things, the present article proposes two theses in his defense. To the charge that Levinas has misrepresented art, my first claim is that Levinas does not misrepresent art and, indeed, that he has a fine sense of it. To the charge that Levinas is hostile to art, my second claim is that Levinas is not at all hostile to art, one sign of which — noticed by both critics — is the literary and aesthetic references that abound in his own writings. That is to say, contrary to his critics, Levinas grasps quite well the nature and the value of art. His own literary practices, found throughout his own writings, some of them quite obvious, such as exegeses of Shakespeare and repeated citations taken from Dostoevsky and Grossman, not to mention a wealth of other references and allusions to artists and writers, and, of course, including explicit comments and discussions about art, all these are consistent with and help underwrite my larger claim that Levinas understands and values art and, indeed, that he understands it very well and values it highly.To be sure, and no one can mistake this, Levinas’s philosophy is ultimately an ethics and not an aesthetics. The ultimum verbum belongs not to aesthetics but to moral responsibility and the quest for justice. It is here, for those who would make aesthetics ultimate, that the rub lies, here that we find the spur and speculum for their distortion and darkening of Levinas on art. All the more necessary, then, are the two sides of the present essay: to understand properly what Levinas is saying by means of a careful reading of his one article devoted entirely to [End Page 150] art, “Reality and Its Shadow,” to discern in as unprejudiced a fashion as possible what Levinas actually has to say about art and its value, and by so proceeding to unmask the inadequacies of Levinas’s aesthetic critics. Getting Levinas right certainly does not foreclose criticism, by any means. It is, nevertheless, the first step to serious criticism or to acceptance. Getting him wrong, however, goes nowhere at all, because it has not even begun.Inasmuch as their mishandling of Levinas is in an important sense basically the same, in the following I treat Robbins’s Altered Reading and Eaglestone’s... (shrink)

Potentiality, Entanglement and Passion-at-a-Distance is a book for theoretical physicists and philosophers of modern physics. It treats a puzzling and provocative aspect of recent quantum physics: the apparent interaction of certain physical events that cannot share any causal connection. These are said to be `entangled' in some way, but an explanation remains elusive. Abner Shimony - to whom the book is dedicated - and others suggest the need to revive the category of what may be seen as a metaphysical potentiality. (...) Abner has described these events without actions to link them as `passion at a distance': not active, but passive. The discussions gathered here are written by a truly remarkable cast of scientists and philosophers and shed new light on the most profound puzzles of our times. (shrink)

This volume contains the English translation of Felix Kaufmann's (1895-1945) main work Methodenlehre der Sozialwissenschaften (1936). In this book, Kaufmann develops a general theory of knowledge of the social sciences in his role as a cross-border commuter between Husserl's phenomenology, Kelsen's pure theory of law and the logical positivism of the Vienna Circle. This multilayered inquiry connects the value-oriented reflections of a general philosophy of science with the specificity of the methods and theories of the social sciences, as opposed to (...) abstract natural science and psychology. The core focus of the study is the attempt to elucidate how and under what conditions scientific knowledge about social facts, empirically justified and theoretically embedded, can be obtained. The empirical basis of knowledge within the social sciences forms a phenomenological concept of experience. According to Kaufmann, this concept of experience exhibits a complex structure. Within the meaning-interpretation of human action as the core of knowledge in the social sciences, this structure reaches out across the isolated act of verification toward the synthesis of external and internal experiences. The book opens with a detailed and useful introduction by Ingeborg K. Helling, which introduces the historical and theoretical background of Kaufmann's study and specifically illuminates his relation to Alfred Schütz and John Dewey. Finally, it contains interviews with and letters to members of his family, colleagues and students. (shrink)

In September 2007, more than 100 philosophers came to Prague with the determination to approach Karl Popper's philosophy as a source of inspiration in many areas of our intellectual endeavor. This volume is a result of that effort.

This volume is dedicated to Mario Bunge in honor of his sixtieth birthday. Mario Bunge is a philosopher of great repute, whose enormous output includes dozens of books in several languages, which will culminate with his Treatise on Basic Philosophy projected in seven volumes, four of which have already appeared [Reidel, I 974ff. ]. He is known for his works on research methods, the foundations of physics, biology, the social sciences, the diverse applications of mathematical methods and of systems analysis, (...) and more. Bunge stands for exact philosophy, classical liberal social philosophy, rationalism and enlightenment. He is brave, even relentless, in his attacks on subjectivism, mentalism, and spiritualism, as well as on positivism, mechanism, and dialectics. He believes in logic and clarity, in science and open-mindedness - not as the philosopher's equivalent to the poli tician's rhetoric of motherhood and apple pie, but as a matter of everyday practice, as qualities to cultivate daily in our pursuit of the life worth living. Bunge's philosophy often has the quality of Columbus's egg, and he is prone to come to swift and decisive conclusions on the basis of argu ments which seem to him valid; he will not be perturbed by the fact that most of the advanced thinkers in the field hold different views. (shrink)

Natural Sciences and the Social Sciences contains a series of explorations of the different ways in which the social sciences have interacted with the natural sciences. Usually, such interactions are considered to go only `one way': from the natural to the social sciences. But there are several important essays in this volume which show how developments in the social sciences have affected the natural sciences - even the `hard' science of physics. Other essays deal with various types of interaction since (...) the Scientific Revolution. In his general introductory chapter, Cohen sets some general themes concerning analogies and homologies and the use of metaphors, drawing specific examples from the use of concepts of physics by marginalist economists and of developments in the life sciences by organismic sociologists. The remaining chapters, which explore the different ways in which the social sciences and the natural sciences have actually interacted, are written by leaders in the field of history of science, drawn from a wide range of countries and disciplines. The book will be of great interest to all historians of science, philosophers interested in questions of methodology, economists and sociologists, and all social scientists concerned with the history of their subject and its foundations. (shrink)

This paper begins with the assumption that university educators must continue to encourage students who are bound for professional careers to act responsibly. We describe two particular efforts for exposing students in computer science to the social responsibilities which accompany this career. In describing our specific experiences with students to date, we also comment on the success of these efforts, and offer suggestions for continued success in the future.