(1996). “A real curiosity”: Charles Darwin reflects on a communication from Rabbi Naphtali Levy. The European Legacy: Vol. 1, Science and Religion in Modern Western Thought, pp. 1716-1727.

The year 2009 marked the bicentennial of Charles Darwin's birth and the 150th anniversary of the publication of The Origin of Species. From 1840 to his death in 1882, Darwin was constantly plagued by chronic illnesses that allowed him to work only a few hours at a time and by an obsession with his physical health. Was this the psychosomatic product of stress resulting from the development and public reception to his theory of evolution or the result of a disease (...) or parasite obtained during the world traveler's excursions? In 1977, the author of this volume argued persuasively for the former explanation in his book To Be an Invalid: The Illness of Charles Darwin, now out of print, but considered to be one of the century's most important works on Darwin's life. Expanding and reworking his earlier arguments to take into account new information, this book paints a more intimate portrait of the nature and possible causes of Darwin's lifelong illness, of the ways he and Victorian physicians tried treating it, and how it influenced his scientific work and relations with his family and friends. (shrink)

Psychologists' emerging interest in spirituality and religion as well as the relevance of each phenomenon to issues of psychological importance requires an understanding of the fundamental characteristics of each construct. On the basis of both historical considerations and a limited but growing empirical literature, we caution against viewing spirituality and religiousness as incompatible and suggest that the common tendency to polarize the terms simply as individual vs. institutional or ′good′ vs. ′bad′ is not fruitful for future research. Also cautioning against (...) the use of restrictive, narrow definitions or overly broad definitions that can rob either construct of its distinctive characteristics, we propose a set of criteria that recognizes the constructs' conceptual similarities and dissimilarities. Rather than trying to force new and likely unsuccessful definitions, we offer these criteria as benchmarks for judging the value of existing definitions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 97-103 [Access article in PDF] MoMA as Educator: The Legacy of Alfred H. Barr, Jr. Ralph A. Smith Professor Emeritus University of Illinois at Urbana-Champaign Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art by Sybil Gordon Kantor. Cambridge: The MIT Press, 2002, xxv, 472 pp., $39.95. ISBN 0-262-11258-2 Sybil Kantor's history of the intellectual origins (...) of the Museum of Modern Art (MoMA) is an engaging account of Alfred Barr, Jr.'s, pivotal role in acquainting an American audience with the modernist movement in art that had developed in Europe and the Soviet Union in the first part of the twentieth century. Scrupulously documented, Kantor's narrative relies heavily on interviews with Barr's contemporaries, his publications, and his extensive correspondence. She also limns portraits of major figures who either influenced his ideas or were instrumental in establishing MoMA. Although the book is very informative about modern art, according to its author it is not intended to be strictly a history of that art. Rather, it is devoted to Barr's early development, his personal characteristics, his attitude toward the cultural and political climate of the times, his definitions of modernism and formalism, and finally, his legacy.Kantor traces Barr's career through the decade of the 1920s, which culminated in his being named the first director of MoMA in 1929; the expansive years of the 1930s and 1940s when, as Kantor puts it, Barr and the museum were at full throttle; and the later years when Barr was relieved of his director's responsibilities to allow him to spend more time on writing and the mounting of exhibitions. He retired from the museum in 1967, began to show signs of ill health in the mid-1970s, and died at the age of 79 in 1981. The Early Years Barr began his studies in the history of art at Princeton where he took courses with Frank Jewett Mather, who taught about modern art, and with Charles Rufus Morey, a distinguished medievalist whose teaching ranged beyond the architecture and sculpture of the Middle Ages to the other arts of that era. Morey's example of comprehensiveness would later stimulate Barr to think along similar lines about modern art and the organization of MoMA. At Harvard's graduate school Barr learned the skills of connoisseurship and museum management from Paul Sachs whose students went on to become directors of major museums across America. Sachs also encouraged Barr's interest in modern art and provided him with numerous letters of [End Page 97] introduction to scholars and museum directors — and occasionally withfunds for his travels.1 Lincoln Kirstein was a close friend, art critic, and earlyally, while Henry-Russell Hitchcock, Walter Gropius, and Philip Johnson significantly affected Barr's understanding of architecture. A large cast of artists, patrons, collectors, writers, trustees, and editors of "little magazines"(so-called because of their relatively small numbers of readers) also enter the scene and play various roles. A few words are in order about Barr himself who, Kantor says, exhibited more rebelliousness, a larger vision, and greater discipline than most of those around him. Barr the Man Kantor portrays a mind and sensibility possessed of exceptional discernment for the new, the difficult, and the worthwhile in the art of the early twentieth century. Barr's feeling for order, organization, and clarity of relations; his commitment to perfection, freedom, and truth; and his faith in the capacity of modern art to overcome prejudices and improve the taste of Americans are not merely reflections of the disciplinary habits inculcated by Barr's Presbyterian upbringing. They also reveal the classical tastes acquired through his art-historical studies and echo the temper of the age.The time — the 1920s through the 1940s — valued both the rationalism of science with its methods of problem solving and the insights of psychoanalysis with its probing of the irrational. Belief in the inevitable progress promised by advances in technology was, however... (shrink)

When considering the interactions between rhetoric and argumentation, readers of this journal will no doubt be reminded of the seminal work of Henry W. Johnstone Jr. (1959; 1978) who gathered both concerns together in ways that were designed to engage philosophers and persuade them of the intellectual seriousness of both enterprises. He was, of course, a principal force among those who brought Chaïm Perelman’s work to the attention of audiences in North America, and he himself entered into deep and fruitful (...) dialogues with Perelman by way of reviewing the value that rhetoric brought to argumentation and logic, as well as to philosophy generally. His interest in philosophical argumentation prompted an early .. (shrink)

THE VISIBLE HAND: THE MANAGERIAL REVOLUTION IN AMERICAN BUSINESS by Alfred D. Chandler, Jr. Cambridge, Mass.: Harvard University Press, 1977. 608 pp., $9.95 paper STRATEGY AND STRUCTURE: CHAPTERS IN THE HISTORY OF THE AMERICAN INDUSTRIAL ENTERPRISE by Alfred D. Chandler, Jr. Cambridge, Mass.: M.I.T. Press, 1962. 463 pp., $9.95 paper.

Perhaps only Tar Baby is as enigmatic and compelling a figure from Afro-American mythic discourse as is that oxymoron, the Signifying Monkey.3 The ironic reversal of a received racist image of the black as simianlike, the Signifying Monkey—he who dwells at the margins of discourse, ever punning, ever troping, ever embodying the ambiguities of language—is our trope for repetition and revision, indeed, is our trope of chiasmus itself, repeating and simultaneously reversing in one deft, discursive act. If Vico and Burke, (...) or Nietzsche, Paul de Man, and Harold Bloom, are correct in identifying “master tropes,” then we might think of these as the “master’s tropes,” and of signifying as the slave’s trope, the trope of tropes, as Bloom characterizes metalepsis, “a trope-reversing trope, a figure of a figure.” Signifying is a trope that subsumes other rhetorical tropes, including metaphor, metonymy, synecdoche, and irony, and also hyberbole, litotes, and metalepsis. To this list, we could easily add aporia, chiasmus, and catachresis, all of which are used in the ritual of signifying.The black tradition has its own subdivisions of signifying, which we could readily identify with the typology of figures received from classical and medieval rhetoric, as Bloom has done with his “maps of misprision.” In black discourse “signifying” means modes of figuration itself. When one signifies, as Kimberly W. Benston puns, one “tropes-a-dope.” The black rhetorical tropes subsumed under signifying would include “marking,” “loud-talking,” “specifying,” “testifying,” “calling out”, “sounding,” “rapping,” and “playing the dozens.”4 3. On Tar Baby, see Ralph Ellison, “Hidden Man and Complex Fate: A Writer’s Experience in the United States,” Shadow and Act, p. 147, and Toni Morrison, Tar Baby. On the black as quasi-simian, see Jean Bodin, Method for the Easy Comprehension of History, trans. Beatrice Reynolds, p. 105; Aristotle Historia Animalium 606b; Thomas Herbert, Some Years Travels, pp. 16-17; and John Locke, An Essay Concerning Human Understanding, 8th ed., 2 vols., 2:53.4. Geneva Smitherman defines these and other black tropes and then traces their use in several black texts. Smitherman’s work, like that of Claudia Mitchell-Kernan and Abrahams, is especially significant for literary theory. See Smitherman, Talkin and Testifyin: The Language of Black America, pp. 101-66. See also nn. 13 and 14 below. (shrink)

Ralph Waldo Emerson said, “a Foolish consistency is the hobgoblin of little minds, adored by little statesmen and philosophers and divines.” The alleged evidence has mounted that ordinary folk are prone to inconsistency, and particularly that they are prone to inconsistency when it comes to probabilistic judgments. I write “alleged,” because it is open to question whether the experiments that provide this evidence are well designed—in particular whether Quine’s principle of logistical charity has been followed. I also do so (...) because in some cases of probability judgments the untutored intuitions of ordinary people seem to be at least as good as, and perhaps better than, the intuitions of those who run the experiments. (shrink)

The ritual handling of serpents remains an unnoticed cultural form for the explanatory aims and theoretical insights desired by cognitive scientists of religion. In the current article, we introduce the Hood and Williams archives at The University of Tennessee at Chattanooga that contains data culled from Hood’s 40-plus year career of studying serpent handlers. The archives contain hundreds of hours of interviews and recordings of speaking in tongues, handling fire, drinking poison, and taking up serpents by different congregants and congregations. (...) The archive remains a rich but untapped source of data for building, testing, and refining cognitive theories of ritual in general, and serpent handling in specific. We connect Hood’s work to current cognitive theories and engage critically with research on the social functions of ritual. Finally, we discuss several further reasons to pay more attention to SHS communities and practices in cognitive theories of ritual. (shrink)

Introduction by Ralph McInerny The essays in this volume, indebted in great part to Jacques Maritain and to other Neo-Thomists, represent a contribution to an understanding of beauty and the arts within the Aristotelian-Thomistic tradition. As such they constitute a different voice in present-day discussions on beauty and aesthetics, a voice which nonetheless shares with many of its contemporaries concern over questions such as the relationship between beauty and morality, public funding of the arts and their educational role, objective (...) and universal standards of what is beautiful. In the tradition in which the contributors of this volume reflect, beauty manifests itself in the order of the universe, an order that provides human reason with a window onto the transcendent. For Aristotle and Aquinas the natural order grounds both art and morality, and yet it is this very order which has been called into question by modern science and philosophy. Instead of pointing us to a suprahuman order, the beautiful then points to the order of human freedom and creativity. Reflection on the beautiful since the modern philosopher Immanuel Kant has thus often taken a subjectivistic turn. Because of the importance of beauty and art in human existence, in man's education and life as a moral and political being, an alternative should be sought to any reduction of the beautiful to a purely subjective experience or cultural construct. The Aristotelian-Thomistic tradition, in dialogue with modern and contemporary conceptions of the beautiful, provides us with just that alternative, and thus the essays herein represent a decisive step in the "journey for Thomistic aesthetics." THE CONTRIBUTORS: In addition to the editor, the contributors to the volume are: Brian J. Braman, Matthew Cuddeback, Christopher M. Cullen, S.J., Patrick Downey, Desmond J. FitzGerald, Donald Haggerty, Wayne H. Harter, Jeanne M. Heffernan, Thomas S. Hibbs, Gregory J. Kerr, Joseph W. Koterski, S.J., Daniel McInerny, Ralph McInerny, James P. Mesa, John F. Morris, Ralph Nelson, Katherine Anne Osenga, Carrie Rehak, Stephen Schloesser, S.J., Francis Slade, John G. Trapani, Jr., and Henk E. S. Woldring. ABOUT THE EDITOR: Alice Ramos is associate professor of philosophy at St. John's University. (shrink)

In das paper 1 consider the reliability condition in Alvin Platinga’s proper functionalist account of epistemic warrant I begin by reviewing m some detail the features of the reliability condition as Platinga has articulated a From there, 1 consider what is needed to ground or secure the sort of reliability which Plantinga has m mind, and argue that what is needed is a significant causal condition which has generally been overlooked Then, after identifying eight versions of the relevant sort of (...) reliability, I exam me each alternative as to whether as requirement, along with Platinga’s other proposed conditions, would give us a satisfactory account of epistemic warrant I conclude that there is bale to no hope of formulating a reliability condition that would yield a satisfactory analysts of the sort Plantinga desires. (shrink)