Each contributor to this book has used personal experience as the basis from which to frame his individual sociological perspectives. Because they have personalized their work, their accounts are real, and recognizable as having come from 'real' persons, about 'real' experiences. There are no objectively-distanced disembodied third person entities in these accounts. These writers are actual people whose stories will make you laugh, cry, think, and want to know more.

There is limited consensus about what constitutes humanly sensitive care, or how it can be sustained in care settings. A new humanised care assessment tool may point to caring practices that are up to the task of meeting persons as humans within busy healthcare environments. This paper describes qualitative development of a tool that is conceptually sensitive to human dimensions of care informed by a life‐world philosophical orientation. Items were generated to reflect eight theoretical dimensions that constitute what makes care (...) feel humanly focused. An action research group process in 2014–2015 with researchers, service users, healthcare professionals in two diverse clinical settings (stroke rehabilitation and dermatology) was used. Feedback on conceptual content, transparency of meaning and readability was then gained from a panel in Sweden and third‐year student nurses in the UK. The tool can be applied to attune staff to human dimensions of care, offering items which point to concrete examples of humanising and dehumanising features of practice in ways that have not yet been fully captured in the caring literature. Based on theoretically led experiential items, with dedicated focus on what makes people feel more, or less than human, it may offer improvement on available assessments of care. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 7-19 [Access article in PDF] Evaluating a Performance - Ideal vs. Great Performance Gilead Bar-Elli Two Notions of Performance Music, as everybody knows, is a performing art. Not only are musical works performed, but they are also designed, by their very nature, to be performed. The notion of a performance of a musical composition is therefore part and parcel of our conception (...) of music. And yet the relationships between a composition and its performances give rise to many difficult problems, some of which will be touched on later. For the present I want to stress two more specific issues in which the significance of the notion of performance for music lies. The first is that a musical composition is constituted by concepts and properties intrinsically connected to performance. In fact, I believe that the very meaning of these concepts and properties is rooted in the ways they are manifested in performance. Hence, even if a certain composition has never and will never be performed, it is still constituted by concepts and properties whose meaning lies in the ways they should be manifested in performance.The second point is that since music is in fact a performing art, since weperform music, and listen to various performances of the same compositions, and conceive of them and evaluate them as music, notions of performance are an integral part of the conceptual repertoire in which we conceive of music. Hence questions pertaining to the nature of performance, and to the relationship between a composition and its performances are inescapable in any philosophical investigation of music. And around these general questions a host of others suggest themselves: What makes a particular performance (even if faulty) a performance of a particular work? Can there be different equally good performances of the same work? In what terms should performances be evaluated (and graded) and how? Can a composition be individuated apart from its performances and how?On many of these problems and the issues surrounding them, a distinction between two conceptions of performance seems helpful, and sometimes [End Page 7] necessary. On the one hand we may conceive of a performance as a musical entity in itself, independently of the composition whose performance it in fact is. A performance thus conceived can be aesthetically evaluated "on its own" so to speak, or in and of itself, with no regard to our having an independent access to the composition whose performance it is. Sometimes, to push it to an extreme, we may not even know that it is a performance of a particular composition, and may not care if it is. Let us call this the"autonomousconception of a performance."On the other hand we often think of a performance as being essentially a performance of a particular composition, and we thus conceive of it and evaluate it. Here knowing which composition the performance is a performance of is essential. It is arguable that on this conception we must also have (in principle at least) an independent access to the composition, by being able to read its score, for example.1 Being a performance of a particular composition is, on this view, part of the very nature and identity of the performance. There can yet be various different performances of the same composition, and they may be compared and evaluated as such. In light of this essential relationship between the performance and "its" composition (the work whose performance it is) let us call this the "intentionalisticconception of a performance."There is a great difference between these two conceptions, and they imply important differences for the nature of music and of musical composition. I am not committing myself here to any particular view of the ontic nature of a composition — whether it is a class of performances, or a kind (in Nicholas Wolterstorff's sense) or a design (in Roger Scruton's).2 I shall exemplify the pertinence of the above distinction for one case. Many people think that music resides only in performances (some would add, actual and possible... (shrink)

In his major works for the pope, as well as several other works from his maturity, Bacon focused on the utility of natural knowledge, both in terms of human know-how and what that know-how could produce. He looked to the courtly sciences, which privilege application and knowledge gained through the sensorium, as sources of natural knowledge and as exemplars for the potential of natural knowledge. This essay argues that Roger Bacon’s work ought to be understood within the context of (...) the court. Bacon’s emphasis on devices in the pursuit of knowledge and utility demonstrates the extent to which the courtly sciences were valued alongside traditional natural philosophical frameworks, and need to be understood in that context. Both the courtly sciences and Bacon’s theory of scientia experimentalis focus on materials, sensory knowledge, and knowledge of particulars in pursuit of applied ends. Bacon drew inspiration from the courtly sciences in theorizing how natural knowledge could serve ruling power. By examining Bacon’s major works on scientia experimentalis and analyzing his reliance on examples from the history of Alexander the Great, this essay demonstrates the interrelation of political power and erudite knowledge, and how they intersected through the cultivation and application of experimentum and technology. Finally, Bacon’s interest in the utility of knowledge suggests that courtly settings in this period are significant locations for the development and applications of natural knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 7-19 [Access article in PDF] Evaluating a Performance - Ideal vs. Great Performance Gilead Bar-Elli Two Notions of Performance Music, as everybody knows, is a performing art. Not only are musical works performed, but they are also designed, by their very nature, to be performed. The notion of a performance of a musical composition is therefore part and parcel of our conception (...) of music. And yet the relationships between a composition and its performances give rise to many difficult problems, some of which will be touched on later. For the present I want to stress two more specific issues in which the significance of the notion of performance for music lies. The first is that a musical composition is constituted by concepts and properties intrinsically connected to performance. In fact, I believe that the very meaning of these concepts and properties is rooted in the ways they are manifested in performance. Hence, even if a certain composition has never and will never be performed, it is still constituted by concepts and properties whose meaning lies in the ways they should be manifested in performance.The second point is that since music is in fact a performing art, since weperform music, and listen to various performances of the same compositions, and conceive of them and evaluate them as music, notions of performance are an integral part of the conceptual repertoire in which we conceive of music. Hence questions pertaining to the nature of performance, and to the relationship between a composition and its performances are inescapable in any philosophical investigation of music. And around these general questions a host of others suggest themselves: What makes a particular performance (even if faulty) a performance of a particular work? Can there be different equally good performances of the same work? In what terms should performances be evaluated (and graded) and how? Can a composition be individuated apart from its performances and how?On many of these problems and the issues surrounding them, a distinction between two conceptions of performance seems helpful, and sometimes [End Page 7] necessary. On the one hand we may conceive of a performance as a musical entity in itself, independently of the composition whose performance it in fact is. A performance thus conceived can be aesthetically evaluated "on its own" so to speak, or in and of itself, with no regard to our having an independent access to the composition whose performance it is. Sometimes, to push it to an extreme, we may not even know that it is a performance of a particular composition, and may not care if it is. Let us call this the"autonomousconception of a performance."On the other hand we often think of a performance as being essentially a performance of a particular composition, and we thus conceive of it and evaluate it. Here knowing which composition the performance is a performance of is essential. It is arguable that on this conception we must also have (in principle at least) an independent access to the composition, by being able to read its score, for example.1 Being a performance of a particular composition is, on this view, part of the very nature and identity of the performance. There can yet be various different performances of the same composition, and they may be compared and evaluated as such. In light of this essential relationship between the performance and "its" composition (the work whose performance it is) let us call this the "intentionalisticconception of a performance."There is a great difference between these two conceptions, and they imply important differences for the nature of music and of musical composition. I am not committing myself here to any particular view of the ontic nature of a composition — whether it is a class of performances, or a kind (in Nicholas Wolterstorff's sense) or a design (in Roger Scruton's).2 I shall exemplify the pertinence of the above distinction for one case. Many people think that music resides only in performances (some would add, actual and possible... (shrink)

In Alan Cameron's long-awaited and epoch-making studyThe Last Pagans of Rome, a typically erudite and stimulating chapter is devoted to the anonymous poem generally known today asCarmen contra paganos(CCP), written in the late fourth or (some have argued) early fifth century. This poem (of 122 lines)—of which the text is still in many places uncertain, in spite of a wealth of critical attention from the time when it was brought fully to light by Delisle in 1867 to the present day—is (...) a blistering invective against worshippers of the traditional gods and their practices, and against one person in particular, whose identity has been much debated. Cameron has brought forward a battery of strong arguments, many of them new, against the claims of Virius Nicomachus Flavianus, for a long time the front runner, whose name used to be given confidently in the poem's title, and, like Ellis and Cracco Ruggini, has strongly championed the claims of Vettius Agorius Praetextatus, the grandee who was consul designate for the year 385 but did not live to take up the office. (shrink)

I respond to the five papers of criticism in this issue of Philosophy. I argue that my cognitive dualism, which may be open to the theological objections levelled by Fiona Ellis, is vindicated by its ability to explain both freedom and inter-personal relations. I defend the inter-subjectivity of aesthetic judgment against Simon Blackburn's argument from ‘the acquaintance principle’, and my vision of cultural decline against the sceptical arguments of Samuel Hughes. The crucial role played by subjectivity in my fiction, (...) discussed by Alicja Gescinska, enables me to add to David McPherson's account of existential conservatism, with which I largely concur. I end on a note of puzzlement, as to why such innocent arguments should be the target of such implacable hatred. (shrink)

I examine Roger Scruton's account of the religious and soteriological significance of Wagner's Tristan and Isolde . The relation between Scruton and Wagner remains unclear, and the position at issue is a curious amalgam of the two. I refer to its author as ‘Scruton's Wagner’. Scruton's Wagner argues that erotic love has religious and soteriological significance, and that the notions of religion and salvation are to be defined in terms which are shorn of any reference to God. I argue (...) that there may be good reasons for setting these limits short of God, but that Scruton's Wagner does not provide them. (shrink)

A thoroughly annotated and complete modern English translation and normalization of More’s correspondence has been needed for a long time. Many new letters have been uncovered in the 75 years since the publication of Elizabeth Roger’s still-indispensable edition, and intervening scholarship has prompted the reevaluation of important details of chronology and authorship. This article details the story of the work begun by a team of German scholars working under Hubertus Schulte-Herbrüggen in the 1980s towards bringing a new edition to (...) fruition and offers introductions, notes, and translations to the so-called Utopia correspondence between Henry VIII and his ambassadors in the Low Countries as a sample of recently-renewed efforts to bring out a new edition of More’s correspondence. (shrink)

In this multi-faceted volume, Christian and other religiously committed theorists find themselves at an uneasy point in history—between premodernity, modernity, and postmodernity—where disciplines and methods, cultural and linguistic traditions, and religious commitments tangle and cross. Here, leading theorists explore the state of the art of the contemporary hermeneutical terrain. As they address the work of Gadamer, Ricoeur, and Derrida, the essays collected in this wide-ranging work engage key themes in philosophical hermeneutics, hermeneutics and religion, hermeneutics and the other arts, hermeneutics (...) and literature, and hermeneutics and ethics. Readers will find lively exchanges and reflections that meet the intellectual and philosophical challenges posed by hermeneutics at the crossroads. Contributors are Bruce Ellis Benson, Christina Bieber Lake, John D. Caputo, Eduardo J. Echeverria, Benne Faber, Norman Lillegard, Roger Lundin, Brian McCrea, James K. A. Smith, Michael VanderWeele, Kevin Vanhoozer, and Nicholas Wolterstorff. (shrink)

Physics underlies all complexity, including our own existence: how is this possible? How can our own lives emerge from interactions of electrons, protons, and neutrons? This book considers the interaction of physical and non-physical causation in complex systems such as living beings, and in particular in the human brain, relating this to the emergence of higher levels of complexity with real causal powers. In particular it explores the idea of top-down causation, which is the key effect allowing the emergence of (...) true complexity and also enables the causal efficacy of non-physical entities, including the value of money, social conventions, and ethical choices. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In recent years, feminist scholarship on emotional labor has proliferated. I identify a related but distinct form of care labor, hermeneutic labor. Hermeneutic labor is the burdensome activity of: understanding and coherently expressing one’s own feelings, desires, intentions, and movitations; discerning those of others; and inventing solutions for relational issues arising from interpersonal tensions. I argue that hermeneutic labor disproportionately falls on women’s shoulders in heteropatriachal societies, especially in intimate relationships between women and men. I also suggest that some of (...) the gendered burdens of emotional labor that feminist scholars point out would better be described as hermeneutic labor. Drawing on feminist philosophy as well as findings from social psychology and sociology, I argue that the exploitation of women’s hermeneutic labor is a pervasive element of what Sandra Bartky calls the ‘micropolitics’ of intimate relationships. The widespread expectation that women are relationship maintenance experts, as well as the prevalence of a gendered demand-withdraw pattern of communication, leads an exploitative situation to appear natural or even desirable, even as it leads to women’s dissatisfaction. This situation may be considered misogynistic in Kate Manne’s sense, where misogyny is a property of social environments rather than a worldview. (shrink)

Reproduction of the original: The Task of Social Hygiene by Havelock Ellis.

Introduction: Conversion and the practice of transformation -- The philosophical structure of Jonathan Edwards's religious affections -- Habit, habit change, and conversion in C.S. Peirce -- Reconstructing faith : religious overcoming in Dewey's pragmatism -- Transforming obligation in William James -- Dwelling in absence: the reflective origin of conversion -- Creative transformation : the work of conversion -- The evasion of conversion in recent American philosophy.

Rather than as a giving of permission to someone to transgress one’s bodily boundaries, I argue for defining sexual consent as feeling-with one’s sexual partner. Dominant approaches to consent within feminist philosophy have failed to capture the intercorporeal character of erotic consciousness by treating it as a form of giving permission, as is evident in the debate between attitudinal and performative theories of consent. Building on the phenomenology of Maurice Merleau-Ponty, Ann Cahill, Linda Martín Alcoff, and others, I argue that (...) taking consent to be an intercorporeal and dynamic coexistence of desiring bodies opens up new ways of thinking about the role of consent in sexual ethics. I suggest that phenomenology’s theories of embodied consciousness, operative intentionality, and the direct perception of others provide a better groundwork for conceptualizing the role of ambiguity and subtle power dynamics in sexual encounters than attitudinal or performative accounts of consent. I also defend my view against Jonathan Jenkins Ichikawa’s argument for doing away with the concept of consent in sexual ethics due to consent's stubborn and infelicitous presupposition of permission-giving. (shrink)

Argues that the only way to understand the Confucian vision of the consummate moral life is to take the tradition on its own terms.

Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as an (...) introduction to subsequent chapters. It also includes an essay that reviews current theories of literary criticism. The second part is devoted to musical aesthetics and contains the theoretical core of the work. Here Scruton describes the contours of aesthetic understanding, and defends the view that the object of aesthetic experience is inherently significant, even when it has no "content" that can be described in propositional terms. He rebuts the view that music is representational, and in the third part goes on to propose a theory of representation whereby to refute the suggestion that photography is a representational art. This third section also contains a study of film. The final part comprises essays relating aesthetic judgment to the understanding of culture, humor, and design. It covers many subjects, including the prose works of Samuel Beckett and the architecture of Leninism. The essays in this book form parts of a single intellectual enterprise, which is to give analytical foundations to the criticism of literature, visual art, music, and culture. (shrink)

Descartes and the last Scholastics: objections and replies -- Descartes and the Scotists -- Ideas, before and after Descartes -- The Cartesian destiny of form and matter -- Descartes, Basso, and Toletus: three kinds of Corpuscularians -- Scholastics and the new astronomy on the substance of the heavens -- Descartes and the Jesuits of La Fleche: the Eucharist -- Condemnations of Cartesianism: the extension and unity of the universe -- Cartesians, Gassendists, and censorship -- The cogito in the seventeenth century.

What can fashionable ideas, blind faith, or pure fantasy possibly have to do with the scientific quest to understand the universe? Surely, theoretical physicists are immune to mere trends, dogmatic beliefs, or flights of fancy? In fact, acclaimed physicist and best-selling author Roger Penrose argues that researchers working at the extreme frontiers of physics are just as susceptible to these forces as anyone else. In this provocative book, he argues that fashion, faith, and fantasy, while sometimes productive and even (...) essential in physics, may be leading today's researchers astray in three of the field's most important areas--string theory, quantum mechanics, and cosmology... The result is an important critique of some of the most significant developments in physics today from one of its most eminent figures."--Jacket. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Challenging commonly held biological, religious, and ethical beliefs, internationally well known historian of science Roger Smith boldly argues that human nature is not some "thing" awaiting discovery but is active in understanding itself. According to Smith, "being human" is a self-creation made possible through a reflective circle of thought and action, with a past and a future, and studying this "history" from a range of perspectives is fundamental to human self-understanding. Smith's argument brings together historical and contemporary debates concerning (...) materialism and human nature and the relations of the different fields of knowledge. He draws on classic writings from across the human sciences, touching on sociology, anthropology, brain sciences, history, philosophical hermeneutics, and critical theory, and demonstrates that there is no position outside history for an absolutely objective or eternally valid view of human nature. The question "what is human?" does not have and could not possible have one answer. Instead, there exists a variety of answers for different purposes, and there are good reasons for the many conceptions of what it is to be human. Smith does not treat human nature as only biological, economic, or moral, but as a multidimensional subject that should be considered in its proper historical context. By understanding this context, Smith believes, we can come to a truer understanding of ourselves. Persuasively and elegantly written, _Being Human_ takes an important new turn in the philosophical study of being human. (shrink)

For many decades, the proponents of `artificial intelligence' have maintained that computers will soon be able to do everything that a human can do. In his bestselling work of popular science, Sir Roger Penrose takes us on a fascinating roller-coaster ride through the basic principles of physics, cosmology, mathematics, and philosophy to show that human thinking can never be emulated by a machine.

This paperback edition is fully updated with new chapters on the livestoick crisis, fishing and BSE and a layman's guide introduction to philosophical concepts, ...

Important aspects of its philosophical basis, and its significance for the foundations of mathematics, appeared in The Foundations of Mathematics (FA, 1884). Six years later, at the beginning of the 1890s, Frege published three articles that mark significant changes in his conception: "Function and Concept" (FC, 1891), "On Sense and Reference" (SR, 1892) and "Concept and Object" (1892). Notable among these changes are: (a) The systematic distinction between the sense and the reference of expressions as two separate ingredients of their (...) meaning. (b) The extension and generalization of the notion of function to include the conception of concepts and relations as functions to truth-values, and the corresponding conception of the two truth-values as objects. These changes were immediately incorporated in the mature, authoritative exposition of his logic in his magnum opus: Basic Laws of Arithmetic (BL), whose first volume appeared in 1893. (shrink)

Phenomenologists have long viewed love as a central form of inter-subjective engagement. I show here that it is also of concern to phenomenological ethics. After establishing the relation of phenomenology to ethics, I show that both classical and existential phenomenology view love as an act of valuing the loved one. I argue that a second act of valuing is latent in phenomenology: valuing the relationship. These values are evident in the phenomenological distinction between true love, which generates a “perspective in (...) difference,” and false love, which seeks union with the beloved manifesting in devotion and/or jealousy. Because culturally dominant heteronormative scripts incline individuals toward false love, lovers should create their own pacts for ethical relationships. I consider consensually non-monogamous relationships as an example. (shrink)

Jean-Paul Sartre’s theory of “the look” has generally been understood as an argument for the impossibility of mutual recognition between consciousnesses. Being-looked-at reveals me as an object for the other, but I can never grasp this object that I am. I argue here that the chapter “The Look” in Being and Nothingness has been widely misunderstood, causing many to dismiss Sartre’s view unfairly. Like Hegel’s account of recognition, Sartre’s “look” is meant as a theory of successful mutual recognition that proves (...) the existence of others. Yet Sartre claims that such an account is plausible only if recognition is affective, not cognitive. Situating Sartre’s account of the look within his technical understanding of affect’s distinctness from cognition not only enables a better understanding of Sartre’s view, but also reveals a compelling alternative to the understanding of self-other relations in contemporary affect theory. (shrink)

This book is intended as an equivalent to or substitute for that "more reflective reading" which Rousseau considered essential to an understanding of his ideas. It is designed to complement perusal of the texts themselves, and the arrangement is such that chapters on each of Rousseau's major writings can be consulted separately or the commentary may be read through in sequence. The author's purpose is not to present a "key" to Rousseau's political philosophy, but rather to explore the works themselves (...) in an effort to reveal Rousseau's "system," from which the reader may then draw his own conclusions. Originally published in 1976. 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 editions preserve the original texts of these important books while presenting them in durable paperback and hardcover 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)

This volume provides a philosophical introduction to and analysis of the study of metaphor. By proceeding from the concrete analysis of complex metaphors, White is able to identify a range of features which are incompatible with standard accounts of the way words function in metaphor.

This volume brings together much of the most influential work undertaken in the field of virtue ethics over the last four decades. The ethics of virtue predominated in the ancient world, and recent moral philosophy has seen a revival of interest in virtue ethics as a rival to Kantian and utilitarian approaches to morality. Divided into four sections, the collection includes articles critical of other traditions; early attempts to offer a positive vision of virtue ethics; some later criticisms of the (...) revival of virtue ethics; and, finally, some recent, more theoretically ambitious essays in virtue ethics. (shrink)