Principles of Philosophy was written in Latin by Rene Descartes. Published in 1644, it was intended to replace Aristotle's philosophy and traditional Scholastic Philosophy. This volume contains a letter of the author to the French translator of the Principles of Philosophy serving for a Preface and a letter to the most serene princess, Elizabeth, eldest daughter of Frederick, King of Bohemia, Count Palatine, and Elector of the Sacred Roman Empire. Principes de philosophie, by Claude Picot, under the supervision of Descartes, (...) appeared in 1647 with a letter-preface to Queen Christina of Sweden. (shrink)

This edition contains Donald Cress's completely revised translation of the Meditations (from the corrected Latin edition) and recent corrections to Discourse on Method, bringing this version even closer to Descartes's original, while maintaining the clear and accessible style of a classic teaching edition.

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

Theory of Literature was originally published in 1949. It is not a textbook introducing the young to the elements of literary appreciation nor a survey of the techniques employed in scholarly research. The authors have sought to unite "poetics" (or literary theory) and "criticism" (evaluation of literature) with "scholarship" ("research") and "literary history" (the "dynamics"of literature, in contrast to the "statics" of theory and criticism).

This is the first book in which contemporary scientists and mystics share with us-in their own words-their views on space, time, matter, energy, life, consciousness, creation and on our place in the scheme of things. The book is also the story of an American philosopher who-with these dialogues-ventures into ground-breaking territory, and of her search in America, Europe, India and Nepal for people whose work is at the center of our understanding of reality.

Compiles the essays of Descartes, the seventeenth-century philosopher who rejected Greek and medieval scholasticism.

Many viewers presented with a round plate tilted to their line of sight will report that they see a round plate that looks elliptical from their perspective. Alva Noë thinks that we should take reports of this kind as adequate descriptions of the phenomenology of spatial experiences. He argues that his so‐called enactive or sensorimotor account of spatial perceptual content explains why both the plate's circularity and its elliptical appearance are phenomenal aspects of experience. In this paper, I critique the (...) phenomenal adequacy of Noë's sensorimotor account of spatial perceptual content. I begin by showing that some of its central claims are in conflict with the phenomenology of perceptual experience. I then argue that shape appearances have no phenomenal reality, thus undermining this central motivation for his account. (shrink)

It is a common assumption among philosophers of perception that phenomenal colors are exhaustively characterized by the three phenomenal dimensions of the color solid: hue, saturation and lightness. The hue of a color is its redness, blueness or yellowness, etc. The saturation of a color refers to the strength of its hue in relation to gray. The lightness of a color determines its relation to black and white. In this paper, I argue that the phenomenology of shadows forces us to (...) consider illumination as an additional dimension of phenomenal colors. For this purpose, I will first introduce two different interpretations of shadow-experiences, which Chalmers has called the simple and the complex interpretations, and show that they both fail to account for important phenomenal facts about shadow-experiences. I will then introduce my own alternative interpretation based on the idea that illumination is a dimension of phenomenal colors and explain how it can account for these facts. (shrink)

Two works from the father of modern philosophy.

In this passage, Zavaleta describes the connections between the moment of real subsumption, social totalisation, the production of social-scientific knowledge that takes the resultant totality as its object, including Marxist theory, and finally, the emergence of a broad intersubjectivity with the capacity to become a revolutionary historical actor.

'Those most capable of being moved by passion are those capable of tasting the most sweetness in this life.'Descartes is most often thought of as introducing a total separation of mind and body. But he also acknowledged the intimate union between them, and in his later writings he concentrated on understanding this aspect of human nature. The Passions of the Soul is his greatest contribution to this debate. It contains a profound discussion of the workings of the emotions and of (...) their place in human life - a subject that increasingly engages the interest of philosophers and intellectual and cultural historians. It also sets out a view of ethics that has been seen as a radical reorientation of moral philosophy.This volume also includes both sides of the correspondence with Princess Elisabeth of Bohemia, one of Descartes's keenest disciples and shrewdest critics, which played a crucial role in the genesis of The Passions, as well as the first part of The Principles of Philosophy, which sets out the key positions of Descartes's philosophical system.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Degree-sentences, i.e. sentences that seem to refer to things that allow of degrees, are widely used both inside and outside of philosophy, even though the metaphysics of degrees is much of an untrodden field. This paper aims to fill this lacuna by addressing the following four questions: [A] Is there some one thing, such that it is degree sensitive? [B] Are there things x, y, and z that stand in a certain relation to each other, viz. the relation that x (...) has more y than z? [C] In those cases in which degree sentences do not refer to phenomena that are degree sensitive, what is responsible for their prima facie seeming to do so? [D] If there are degree sensitive things, to which ontological categories do they belong? We answer each of these questions by arguing that there are, metaphysically speaking, different phenomena that degree sentences refer to: some refer to determinates that emanate from a certain determinable, others to tokens that are instantiations of a certain type, and yet others to what we call ‘complex, resultant properties that are constituted by stereotypical properties’. Finally, we show the relevance of our answers by applying them to the notions of freedom and belief. (shrink)

From the Foreward by Mortimer J. Adler Of all the question or issues concerning human freedom, none is more fundamental in itself and in its consequences than the problem of free choice; and none has been the subject of more persistent and, at the same time, apparently irresolvable controversyThis bookis the perfect antidote for the errors, the misunderstandings or worse, the ignorances that beset the modern discussion of free choice. Even the reader who comes to this book with little or (...) no knowledge of the philosophical literature on the subjects that it treats cannot fail to appreciate its remarkable clarity, its felicitous combination of detailed concreteness with abstract precision, its exploration of common experience and its elucidation of common sense, and, above all, the intelligibility, reasonableness, and fairness of its exposition of free choice. (shrink)

Presents a scientific method based on hypothesis and deduction which replaced techniques derived from Aristotle, and includes extracts from Descartes' ...

Universities are increasingly pushed to apply for external funding for their research and incentivised for making an impact in the society surrounding them. The consequences of these third-mission activities for the degree of freedom of the research, the potential to make a substantial research contribution and the ethical challenges of this increased dependency on external funding are often neglected. The implications of external sponsorship of research depend on the level of influence of the sponsor in the various elements of the (...) research. This paper provides a typology of sponsored innovation management research projects in order to create a common language between researchers and practitioners. Through in-depth analysis of nine innovation management research projects, carried out and funded in Northern Europe, and a rich set of qualitative data, the paper outlines the key dimensions of the projects where researchers and practitioners should agree on the degrees of freedom of the research project. It identifies three different methodological dimensions that can impact the likelihood of generating publishable results from the innovation management research. The three dimensions are purpose, throughput and output. The paper discusses the positive and negative impact of these types of projects and generates implications for the central stakeholders. (shrink)

This paper presents a dynamic perspective in which the psychological contract is treated as a structured set of beliefs that are held by individual employees about the mutual obligations of the organization as employer and themselves as employees. This set of beliefs is assumed to produce a state of commitment to the organization in which the employee is willing to accept work roles and tasks offered by the organization, and to carry them out in accordance with certain standards. The dynamic (...) model that is presented can help to explain why the commitment of employees remains relatively stable over time, and why it may suddenly decrease or increase under circumstances that are perceived as critical by the employee. The model assumes that the employee's evaluation of the organization's behavior changes over time, but that the structure of the psychological contract and the associated commitment change only when certain limits are overstepped. This perspective on changes in the psychological contract transforms the concept into a powerful construct that may lead to fruitful research on the dynamics of organization-employee relationships. Implications for future research are discussed. (shrink)

The new methods, the tone, and new taste are clearly discernible first in the early articles and books of John Crowe Ransom, Allen Tate, R. P. Blackmur, Kenneth Burke, and Yvor Winters, and somewhat later in Cleanth Brooks, Robert Penn Warren, and William K. Wimsatt. . . . Still, something tells us that there is some sense in grouping these critics together. Most obviously they are held together by their reaction against the preceding or contemporary critical schools and views mentioned (...) before. They all reject the kind of metaphorical, evocative criticism practiced by the impressionists. Tate, Blackmur, Burke, and Winters contributed to a symposium highly critical of the neo-Humanists, and others voiced their rejection elsewhere. They all had no use for Mencken and Van Wyck Brooks, particularly after Brooks became a violent enemy of all modernism. Furthermore, they were almost unanimous in their rejection of Marxism, with the single exception of Kenneth Burke, who in the thirties passed through a Marxist phase and, anyhow, after his first book moved away from his neo-critical beginnings. What, however, in the American situation mattered most was that they were united in their opposition to the prevailing methods, doctrines, and views of academic English literary scholarship. There, in a way the younger generation may find it difficult to realize, a purely philological and historical scholarship dominated all instruction, publication, and promotion. I remember that when I first came to study English literature in the Princeton graduate school in 1927, fifty years ago, no course in American literature, none in modern literature, and none in criticism was offered. Of all my learned teachers only Morris W. Croll had any interest in aesthetics or even ideas. Most of the New Critics were college teachers and had to make their way in an environment hostile to any and all criticism. Only Kenneth Burke was and remained a freelance man of letters, though he taught in later years occasionally at Bennington College and briefly at the University of Chicago. But he very early deserted the New Criticism. It took Blackmur, Tate, and Winters years to get academic recognition, often against stiff opposition, and even Ransom, R. P. Warren, and Cleanth Brooks, established in quieter places, had their troubles. Ransom's paper "Criticism, Inc." pleaded for the academic establishment of criticism, and thanks to him and others criticism is now taught in most American colleges and universities. But it was an uphill fight. I still remember vividly the acrimony of the conflict between criticism and literary history at the University of Iowa, where I was a member of the English Department from 1939 to 1946. René Wellek, Sterling Professor Emeritus of comparative literature at Yale University, is the author of Theory of Literature and of A History of Modern Criticism, 1750-1950. He has contributed "Notes and Exchanges Between René Wellek and Wayne C. Booth" and "A Rejoinder to Gerald Graff" to Critical Inquiry. (shrink)

In this paper I explore, in sections 2 and 3, respectively, Herman Dooyeweerd’s notion of naive experience and the notion of common sense as found in the writings of Thomas Reid and G. E. Moore. I argue in section 4 that naive experience and common sense are assigned a structurally similar functional role by their advocates—viz., the role of touchstone for philosophy. In the final section I stage a conversation between Dooyeweerd and Reid about the touchstones they adopt.

From a legal philosophical perspective one can speak confidently about the concept of man in Europe. Fundamental implications of the so called homo europaeus, to be discussed in this article, are represented above all in the Treaty established a Constitution for Europe. The two contrasting concepts of man are responsible for the present crises surrounding the ratification of the new EU constitution. 3Philosophical reflections are required in order to deduce the concept of man from a constitutional text, in which the (...) concept itself is not explicitly mentioned. The implications of certain connotations are considered as basic values for a peaceful co-existence. Human dignity, fundamental rights, separation of powers, the right to resist, citizenship of the union, family, democracy, solidarity, subsidiarity and pluralism all cast a revealing light on the unapparent concept of the homo europaeus. (shrink)

Cet exposé comporte deux parties: la première rappelle comment Ferdinand Gonseth comprenait ce terme de Référentiel qu'il avait auparavant introduit. La deuxième s'efforcera de préciser quelque peu cette notion par une interprétation topologico‐dynamique.

Our estimation of art works we sometimes express by calling them felicitous. This ascription is problematic since the criteria are not governed by descriptive properties but by possible ascriptions. Thus, some problems result for an aesthetic realist concerning the provability of an artwork’s felicitousness and the validity of this judgement. An artwork’s status as a felicitous one depends not only on descriptive criteria with cognitive force to agree with this judgement. Rather, this ascription takes place on a background of a (...) communicatively anchored aesthetical acceptance. (shrink)