We devise imperative programming languages for verified real number computation where real numbers are provided as abstract data types such that the users of the languages can express real number computation by considering real numbers as abstract mathematical entities. Unlike other common approaches toward real number computation, based on an algebraic model that lacks implementability or transcendental computation, or finite-precision approximation such as using double precision computation that lacks a formal foundation, our languages are devised based on computable analysis, a (...) foundation of rigorous computation over continuous data. Consequently, the users of the language can easily program real number computation and reason about the behaviours of their programs, relying on their mathematical knowledge of real numbers without worrying about artificial roundoff errors. As the languages are imperative, we adopt precondition–postcondition-style program specification and Hoare-style program verification methodologies. Consequently, the users of the language can easily program a computation over real numbers, specify the expected behaviour of the program, including termination, and prove the correctness of the specification. Furthermore, we suggest extending the languages with other interesting continuous data, such as matrices, continuous real functions, et cetera.Abstract taken directly from the thesis.E-mail: [email protected]: https://sewonpark.com/thesis. (shrink)

A British historian might be excused for looking slightly askance at any collection of recent books relating to the philosophy of history. This is because we have been told, several times over and by distinguished members of the profession, that such speculative and analytic activity has little, if anything, to do with the actual business of historiography. One of the most forthright warnings was delivered on the very first page of Professor G. R. Elton's The Practice of History (1967), when (...) we were advised that: ‘Every new number of History and Theory is liable to contain yet another article struggling to give history a philosophic base, and some of them are interesting. But they do not, I fear, advance the writing of history’. For Elton, therefore, there could be little point in granting his colleague in another discipline the right to assess the cognitive claims of historiography. The historian himself, and he alone, was qualified to determine, for all practical purposes, the aims and applications of historical method. It was left to the late Arnold Toynbee to diagnose (in Toynbee on Toynbee, 1974) the dangers in this protectionist approach. He claimed that Elton was ‘trying deliberately to create a closed circuit of “professional” historians’ which was, in his opinion, ‘fatal to any form of study’. But of course Toynbee's own lack of standing within the historical profession could be put forward as a telling index of the dangers of transgressing the barriers between history and philosophy. (shrink)

A British historian might be excused for looking slightly askance at any collection of recent books relating to the philosophy of history. This is because we have been told, several times over and by distinguished members of the profession, that such speculative and analytic activity has little, if anything, to do with the actual business of historiography. One of the most forthright warnings was delivered on the very first page of Professor G. R. Elton'sThe Practice of History(1967), when we were (...) advised that: ‘Every new number ofHistory and Theoryis liable to contain yet another article struggling to give history a philosophic base, and some of them are interesting. But they do not, I fear, advance the writing of history’. For Elton, therefore, there could be little point in granting his colleague in another discipline the right to assess the cognitive claims of historiography. The historian himself, and he alone, was qualified to determine, for all practical purposes, the aims and applications of historical method. It was left to the late Arnold Toynbee to diagnose (inToynbee on Toynbee, 1974) the dangers in this protectionist approach. He claimed that Elton was ‘trying deliberately to create a closed circuit of “professional” historians’ which was, in his opinion, ‘fatal to any form of study’. But of course Toynbee's own lack of standing within the historical profession could be put forward as a telling index of the dangers of transgressing the barriers between history and philosophy. (shrink)

Jean-Louis Schefer's study takes as its point of departure Uccello's predella, Profanation of the Host. The painting in question has generally been interpreted within the context of medieval anti-Semitism. However, Schefer argues that the meaning of the work, and of numerous other representations of this particular miracle, must be referred ultimately to the codification by Charlemagne of the dogma of the Real Presence. Uccello's painting in effect makes manifest the requirement that the profaned host should reveal its nature through the (...) gushing of blood. This also involves a political significance, since the Carolingian theology organized around the consecrated host stands in direct opposition to the Byzantine theology of the icon. Schefer's argument leads him to make a thorough investigation not only of the many iconographic precedents, but also of some key Latin texts such as the Libri Carolini, which are published in a French translation. It also advances a methodology that is strikingly at variance with some of the more simple-minded attempts of historians to crack the codes of a complex visual tradition. One of its most original aspects is the new light that the overall thesis casts upon extremely well-known texts like The Merchant of Venice and Dracula. Thus the tendency to identify vampirism as an East European phenomenon, already discernible in Western sources in the eighteenth century, is shown to be closely linked to the historical extension of the myth of Profanation of the Host. In exploring the outcomes of this doctrinal split between East and West, Schefer has identified a deep fault-line in post-antique European history whose consequences are far from being understood at the present day. (shrink)

This paper takes as its point of departure Roland Barthes’s proposition in La Chambre claire that the nineteenth century “invented History and Photography,” that the era of photography is one of revolutions, and that the photograph’s “testimony” has diminished our capacity to think in terms of “duration.” Barthes also asserts that the French photographer Nadar is “the greatest photographer in the world,” but takes no account of Nadar’s acute receptivity to the history of the nineteenth century. The paper argues that, (...) though he fully recognized the unique properties of the new medium, Nadar himself was overridingly preoccupied with assessing photography’s role in a period when war and revolution were compromising the onward march of social and economic progress. Throughout his life, he was committed to the progressive ideas that he assimilated while growing up in Paris and Lyon in the 1830s. He wrote of the emergence of a Bohemian culture in the Latin Quarter of Paris, and remained keenly aware of the visual impressions that he had received in his youth from the popular lithographs of the pre-photographic era. He became a supporter of the artistic avant-garde, which led him to purchase important work by the landscape painter Daubigny. In his art criticism, he excoriated the later portraits of Ingres, which might have competed with his own reputation as a photographic portraitist. Yet, in his admiration for Delacroix, he emphasized the lengthy initiation necessary for the appreciation of the master’s paintings, implying a direct contrast with the “instantaneity” of the photographic process. By common consent, the period of Nadar’s great success as a portraitist, which secured his posthumous fame, occupied a short phase in his career as a whole. But his writings show that it was his lively intuition of the wider ramifications of photography that impelled him to move on—experimenting successfully with the first aerial photographs and documenting the catacombs of Paris with the aid of magnesium lighting. Though he could never experience television, he left a narrative in which the feasibility of transmitting images over a distance was presented as being startlingly realistic. In short, Nadar’s published work can be viewed as a sustained meditation on the interaction of historical experience and the media, which not only records but anticipates photography’s impact within the wider framework of visual culture. (shrink)

This article considers the concept of the utopia from the point of view of garden design. It begins with an evocation of the `Jardin de Julie', the literary garden described in Rousseau and acutely analysed by Louis Marin. It then passes to a series of actual gardens created by the French contemporary designer Bernard Lassus, in which the use of landscape effects is seen as achieving similar dislocations of space and incitements to the imagination.

An epistemological break occurred in historical discourse between the eighteenth and the nineteenth centuries; it is exemplified in the collections of Alexandre Lenoir and Alexandre du Sommerard in the Musée de Cluny. Foucault and later Hayden White identified this break as a transition from the classic to the romantic episteme. The classic eighteenth -century relationship between the historical object and the historical text tended to be reductionist and mechanistic while the nineteenth-century form was more integrated and organic. White treated these (...) relations as modes of discourse and referred to their typological forms as tropes. He referred to the classic and romantic tropes as metonymy and synecdoche, respectively. Lenoir's "metonymic" collection includes as many objects of a period as possible within a space. Du Sommerard, on the other hand, displayed the objects "synecdochically" within a space designed not only to contain them, but to explain their role in the past. (shrink)

The historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the 'period eye' offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, where (...) such representations of history could be experienced as a collective 'dream-work', in Freud's sense. In France, this new pictorial language dates back to the aftermath of the Revolution, and the activities of the 'Lyon School'. Two artists, Richard and Révoil, were its leading proponents. However their initial closeness has obscured the differences in their approach to the past. Substituting for Freud's 'condensation' and 'displacement' the concepts of 'Resurrection' and 'Restoration', I analyse the pictorial language of the two painters, taking two works as examples. The conclusion is that Révoil, also a collector, was a precursor of the historical museum, which convinces through accumulating objects. Richard, however, employs technical and rhetorical devices to evoke empathetic reactions, and anticipates the illusionism of cinema. (shrink)

Goya's and Manet's painted images, and Jean Renoir's cinematic image of historical executions have the power under the ideology of the image to reveal the truth of a moment outside of historical narrative. At the same time, these images are pulled back into the narrative from which they have been removed. The works of these three artists can be used to trace changes in the relationship of the image to historical narrative and its connection to photography and cinema. Goya, working (...) in the early nineteenth century, uses the power of the scopic drive in a strategy which can be called the "witness effect." He deploys the traditional codes of post- Renaissance art in his composition, leading to a detemporalization of his image. Fifty years later, Manet's scene of execution includes an element outside the domain of codes, an element not symbolic, but indexical-the smoke coming out of the soldiers'gun barrels. The conception of the smoke as a sign of actuality is made possible by the invention of photography, which asks of the historical narrative, "Could such a fact, as it is narrated, have been photographed?" The third scene of execution, a still from a history film, is in a state of narrative nonexistence. The execution will be thwarted as the film continues. Renoir accommodates the historical imagination through allowing the image to assert both its presence and its absence. He articulates the gap between the reality and theatricality of visual representations of history. (shrink)

What is history? From Thucydides to Toynbee historians and nonhistorians alike have wondered how to answer this question. A New Philosophy of History reflects on developments over the last two decades in historical writing, not least the renewed interest in the status of narrative itself and the presence of the authorial "voice." Subjects include the problems of Grand Narrative, multiple voices and the personal presence of the historian in his text, the ambitions of the French Annales school and the so-called (...) "Grand Chronicler," and the relevance of non-literary models--museum presentations and picturings--regarding historical discourse. The range of approaches found in A New Philosophy of History ensures that this book will establish itself as required reading not only for historians, but for everyone interested in literary theory, philosophy, or cultural studies. This volume presents essays by Hans Kellner, Nancy F. Partner, Richard T. Vann, Arthur C. Danto, Linda Orr, Philippe Carrard, Ann Rigney, Allan Megill, Robert Berkhofer, Stephen Bann, and Frank Ankersmit. (shrink)

Die Dissertation, mit der René König 1930 bei Max Dessoir an der Universität Berlin promovierte, wurde erstmals ein Jahr später in Leipzig veröffentlicht. Trotz dieser Buchpublikation blieb sie das am wenigsten bekannte Werk des Autors, das gleichwohl einen festen Platz in literaturwissenschaftlichen Bibliographien zum Naturalismus errungen hat. König rekonstruiert hier das Wirklichkeitsverständnis der naturalistischen Ästhetik, die in der zweiten Hälfte des 19. Jahrhunderts von Frankreich aus weite Teile der europäischen Literaturdebatten beeinflußte. Leitende Begriffe dieses Konzepts - wie Milieu, Gesellschaft u.a. (...) - werden einer kritischen Prüfung unterzogen und der sozialwissenschaftlichen Diskussion der Epoche konfrontiert. Neben dieser Analyse besticht Königs Werk durch seine nachhaltige Durchleuchtung von Wirklichkeitssphären, die auch den späteren Soziologen immer wieder in ihren Bann zogen. Das Buch zeigt den jungen Autor unterwegs zu einem Teil seiner Lebensthemen: Probleme der Beobachtung, von Familie, Beruf und städtischer Gemeinde klingen an. (shrink)

Die Dissertation, mit der René König 1930 bei Max Dessoir an der Universität Berlin promovierte, wurde erstmals ein Jahr später in Leipzig veröffentlicht. Trotz dieser Buchpublikation blieb sie das am wenigsten bekannte Werk des Autors, das gleichwohl einen festen Platz in literaturwissenschaftlichen Bibliographien zum Naturalismus errungen hat. König rekonstruiert hier das Wirklichkeitsverständnis der naturalistischen Ästhetik, die in der zweiten Hälfte des 19. Jahrhunderts von Frankreich aus weite Teile der europäischen Literaturdebatten beeinflußte. Leitende Begriffe dieses Konzepts - wie Milieu, Gesellschaft u.a. (...) - werden einer kritischen Prüfung unterzogen und der sozialwissenschaftlichen Diskussion der Epoche konfrontiert. Neben dieser Analyse besticht Königs Werk durch seine nachhaltige Durchleuchtung von Wirklichkeitssphären, die auch den späteren Soziologen immer wieder in ihren Bann zogen. Das Buch zeigt den jungen Autor unterwegs zu einem Teil seiner Lebensthemen: Probleme der Beobachtung, von Familie, Beruf und städtischer Gemeinde klingen an. (shrink)

Excerpt from Die Idee des Schicksals in der Geschichte der Tragdie: Ein Kapitel Einer sthetik Qbenn nun aber bie fiunitgefrbicbte aus iid) unb fur lid) ielbit icbon eine beorie ber Runft 5u fcbaffen begonnen bat, was will bann norb eine Qlftbetit neben unb auer ibr? (c)ibt es ein Qiecbt ber c13l)ilbfbpbie auf ein Guitem glieb, genannt Qlitbetii, b. B. bbiloiopbie ber Runftl'? About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com (...) This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Readers of Phaedrus will have noticed that the rhythm of III. Ep. 34, Palam muttire plebeio piaculum est is unique. Nowhere else does he admit a molossus-word before the final metron of the iambic senarius, and he only admits it here because he is quoting a line from the Telephus of Ennius. Since a scholar whose opinion deserves respect proposes to introduce this rhythm into a reconstruction of a fragment of Laberius it seems worth while to examine its history in (...) order to see how and why it was used, before it was finally banned. For Seneca, like Phaedrus, banns it entirely. The question has already been considered by Klotz, Grundzüge Altrömischer Metrik, pp. 324 sqq.; W. M. Lindsay, Captiui , p. 66; Havet, Métrique, 276 ; and by T. Hingst in his inaugural dissertation De Spondeis et Anapaestis in antepaenultimo pede uersuum generis duplicis Latinorum, Leipzig, 1904. (shrink)

A revision of George Kennedy's translation of, introdution to, and commentary on Aristotle's On Rhetoric. His translation is most accurate, his general introduction is the most thorough and insightful, and his brief introductions to sections of the work, along with his explanatory footnotes, are the most useful available.

Reinhold, em sua Filosofia elementar, e Schopenhauer, com sua obra principal O mundo como vontade e representação, se consideram herdeiros de Kant e ambos falam em fatos muito semelhantes sobre os méritos inegáveis e as deficiências da Crítica da razão. No entanto, esforçam-se para apresentar uma filosofia kantiana revisada por meio de uma construção de conceitos de nível superior, mas mantendo a convicção de que as coisas em si mesmas formam um dos pilares fundamentais do sistema. Assim, o intuito deste (...) trabalho é conferir, sobre o pano de fundo kantiano, a aproximação entre os dois pensadores alegada por Martin Bondeli em sua obra Reinhold e Schopenhauer: zwei Denkwelten im Banne von Vorstellung und Wille. (shrink)

At the centre of Adorno’s critical theory of society lies the problem of Bann or Bannkreis: why do individuals systematically act in ways that reinforce conditions that are obviously incompatible with their freedom and pursuit of happiness? Despite criticism of Dewey’s experimentalism by several Frankfurt School critical theorists claiming that the American pragmatist fails to account for systematic blockages to critique, Dewey does in fact formulate his approach to social critique as a response to the problem that social life (...) might be made immune to transformative claims. In Human Nature and Conduct, thirty years prior to Adorno’s Bannkreis, he conceptualizes a ‘vicious circle’ in which attempts to transform social life seem to be caught and points to a way out. This article shows that Adorno and Dewey share in a project at the heart of critical theory, the project of a disclosing critique of society. In different and mutually completing ways, the Frankfurt School critical theorist and the American pragmatist point out the extent to which their contemporary societies are caught in antagonistic and painful vicious circles and thereby point to the objective possibility of another form of social life. The article is historical, but it is animated by the intent to brush a fruitful path for disclosing critique today. From Adorno, this critical practice gains the idea that theory of society can be a disclosing gesture, which presents an important corrective to Dewey’s failure to trace the eclipse of the public. From Dewey, it gets a reminder that these theories must find ways to continue into ordinary life experience through group action for their disclosure to come full circle. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Nietzsche, Philosophy and the Arts ed. by Salim Kemal, Ivan Gaskell, and Daniel W. ConwayHans SeigfriedSalim Kemal, Ivan Gaskell, and Daniel W. Conway, editors. Nietzsche, Philosophy and the Arts. Cambridge: Cambridge University Press, 1998. Pp. xv + 351. Cloth, $69.95.The editors contend that much contemporary reflection on the relationship between philosophy and art has been shaped by Nietzsche’s “experiments with an ‘aesthetic politics’ and a politization of aesthetics.” (...) For this reason, all contributions examine Nietzsche’s aesthetic account of the origins and ends of philosophy and the transformative power of aesthetic activity in social and personal life. They concentrate on his idea of a strictly aesthetic justification of existence. The editors argue that Nietzsche, more [End Page 686] than other philosophers, understood “art as the basic transformative impulse known to human experience,” that he replaced the traditional theoretical justification of existence with an exclusively aesthetic justification, and that he not only theorized about art, but also had artistic aspirations, and that this “dual relationship to art” accounts for his continued influence. They hope that this collection will “set out the ground for future debate” of these matters.The volume is well organized. Grouped in three parts, four essays discuss basic aspects of Nietzsche’s idea of art as a transformative power, three his understanding of particular arts and the influence of his ideas on them, and five the connection between the transformative power of art and the values that guide our transactions in social and political matters. In Part One, E. Behler, M. Nussbaum, A. Del Caro, and R. Havas discuss the power of art in ironic distancing in passion, “Dionysian rapture,” and the justification of existence. In Part Two, S. Bann explores Nietzsche’s ideas about historical consciousness and representation in French romanticism, T. W. White examines the connection between Utopian vision and genuine truth in Klimt’s “Beethoven Frieze,” and J. Carvalho discusses “improvising without memory” in jazz as an illustration of Nietzsche’s Dionysian model for self-transformation. In Part Three, F. Jenkins compares and contrasts moral and aesthetic self-formation, H. Staten reconstructs “the common matrix of aristocratic-authoritarian and democratic-liberationist tendencies in Nietzsche’s writings,” S. Kemal develops some implications of the final rejection of the “artists’ metaphysics” that Nietzsche still defended in his annus mirabilis (1886), D. W. Conway scrutinizes the political and aesthetic roles philosophers could and should play, and C. Crawford reviews some physiological processes involved in aesthetic transformation in the arts of dance, song, laughter, etc.Although the importance of Nietzsche in the discussion of art in our culture cannot be overestimated, one might want to quarrel with the editors’ claim that there are no other philosophers who believed as strongly as did Nietzsche that art was “the basic transformative impulse” in human experience. The same view was carefully developed by Dewey in Art as Experience and expanded in many other contributions to cover almost all areas of experience. But Nietzsche’s view of art and his idea that all human efforts need a strictly aesthetic justification still belong to the very best we have, and they deserve further discussion more than anything else in his writings.While these essays go a long way toward explaining the transformative power of art and aesthetic justification, they ultimately do not make clear what precisely Nietzsche’s reasons were for insisting that the meaning of existence can be justified only aesthetically and not conceptually, or why he thought that human experience is a process of transfiguration, or transformation, and not one of representation or conformation. It might help to review the reasons Nietzsche initially gave for abandoning the belief that existence can be transparently organized by the received “mechanism of concepts, judgments, and inferences,” and why he rejected the principle of sufficient reason as the basis of knowledge and dismissed the idea of “correct perception.” His description of experience as the “aesthetic operation”—Verhalten, not Verhältnis, as translated—of tentatively transferring things into a delicately woven web of changing human needs and interests does not mean that Nietzsche abandoned the conceptualization of experience. [End Page 687] Rather, it shows why we must recognize conceptualization as an... (shrink)

At the centre of Adorno’s critical theory of society lies the problem of Bann or Bannkreis: why do individuals systematically act in ways that reinforce conditions that are obviously incompatible with their freedom and pursuit of happiness? Despite criticism of Dewey’s experimentalism by several Frankfurt School critical theorists claiming that the American pragmatist fails to account for systematic blockages to critique, Dewey does in fact formulate his approach to social critique as a response to the problem that social life (...) might be made immune to transformative claims. In Human Nature and Conduct, thirty years prior to Adorno’s Bannkreis, he conceptualizes a ‘vicious circle’ in which attempts to transform social life seem to be caught and points to a way out. This article shows that Adorno and Dewey share in a project at the heart of critical theory, the project of a disclosing critique of society. In different and mutually completing ways, the Frankfurt School critical theorist and the American pragmatist point out the extent to which their contemporary societies are caught in antagonistic and painful vicious circles and thereby point to the objective possibility of another form of social life. The article is historical, but it is animated by the intent to brush a fruitful path for disclosing critique today. From Adorno, this critical practice gains the idea that theory of society can be a disclosing gesture, which presents an important corrective to Dewey’s failure to trace the eclipse of the public. From Dewey, it gets a reminder that these theories must find ways to continue into ordinary life experience through group action for their disclosure to come full circle. (shrink)

Recent research on algebraic models of _quasi-Nelson logic_ has brought new attention to a number of classes of algebras which result from enriching (subreducts of) Heyting algebras with a special modal operator, known in the literature as a _nucleus_. Among these various algebraic structures, for which we employ the umbrella term _intuitionistic modal algebras_, some have been studied since at least the 1970s, usually within the framework of topology and sheaf theory. Others may seem more exotic, for their primitive operations (...) arise from algebraic terms of the intuitionistic modal language which have not been previously considered. We shall for instance investigate the variety of _weak implicative semilattices_, whose members are (non-necessarily distributive) meet semilattices endowed with a nucleus and an implication operation which is not a relative pseudo-complement but satisfies the postulates of Celani and Jansana’s strict implication. For each of these new classes of algebras we establish a representation and a topological duality which generalize the known ones for Heyting algebras enriched with a nucleus. (shrink)

Transcript of speeches by a Hindu philosopher, chiefly on Hindu philosophy and Hinduism.

Classical text on Nyaya and Vaiśeṣika philosophy; with Āloka Sanskrit commentary.

Classical work on Vedanta; includes Bhāṣyaratnaprabhā of Govindānanda and Śārīrakamīmāṃsābhāṣya of Śaṅkarācārya.

Classical work on Vedanta by Bādarāyaṇa; includes Śārīraka vijñānam bhāṣya of Śrī Madhusūdana Ojhā.

Purpose. The article is aimed to substantiate the view on the phenomenon of laughter as a subject of semiotic analysis, which leads to the following tasks: to reveal the possibilities of semiotics application in the study of laughter nature; to analyze the phenomenon of laughter as a cultural and natural phenomenon, as a sign and as an attribute; to consider the place of laughter in culture, which is understood as a sign system. Theoretical basis. The semiotic approach proceeds from the (...) fact that human lives in the world of signs, all the surrounding reality can be interpreted as a sign system. The basic concept of semiotics is the concept of a sign. The theoretical basis of the article is understanding the culture as a sign-symbolic system. Laughter is considered as a phenomenon ontologically rooted in human culture. At the same time, laughter is on the edge of culture. The research is based on the work of semiotic authors, cultural researchers, and the researchers of laughter. Originality. The originality lies in the application of the semiotic method to the research of laughter phenomenon, consideration of the dialectics of natural and cultural, signedness and non-signedness, manifested in the phenomenon of laughter. Conclusions. Laughter is considered as a psychophysiological phenomenon and as a cultural phenomenon. Laughter acts as an emotional manifestation, a physiological reaction, but socially and culturally mediated. In any case, laughter indicates an emotional or cognitive state of a human. Laughter acts as a process and result of the interpretation of a sign, a reaction to a sign. Laughter is a form and a means of communication. Being a natural phenomenon, in the process of social evolution, laughter acquires signedness, is integrated by culture as a sign system, and, at the same time, maintains a connection with nature. Thus, laughter occupies an ambivalent position between nature and culture. In the phenomenon of laughter, the dual state of human is revealed. In laughter, boundaries are blurred, the unity and opposition of natural and cultural, biological and social, soul and body, thought and feeling, sign and attribute are manifested. (shrink)

We are immersed within an odorous sea of chemical currents that we parse into individual odors with complex structures. Odors have been posited as determined by the structural relation between the molecules that compose the chemical compounds and their interactions with the receptor site. But, naturally occurring smells are parsed from gaseous odor plumes. To give a comprehensive account of the nature of odors the chemosciences must account for these large distributed entities as well. We offer a focused review of (...) what is known about the perception of odor plumes for olfactory navigation and tracking, which we then connect to what is known about the role odorants play as properties of the plume in determining odor identity with respect to odor quality. We end by motivating our central claim that more research needs to be conducted on the role that odorants play within the odor plume in determining odor identity. (shrink)

Eco-labels emphasize information disclosure as a tool to induce environmentally friendly behaviors by both firms and consumers. The goal of eco-labels is to reduce information asymmetry between producers and consumers over the environmental attributes of a product or service. However, by focusing on this information asymmetry, rather than on how the label meets consumer needs, eco-labels may send irrelevant, confusing, or even detrimental messages to consumers. In this article, the authors investigate how the environmental signal of eco-labels interacts with product (...) characteristics such as brand, quality, and price. In a discrete choice experiment, the authors examine consumer response to two similar eco-labels for wine, one associated with a quality reduction and the other not. The results show that respondents preferred both eco-labeled wines over otherwise identical conventional counterparts when the price was lower and the wine was from a lower quality region. However, they preferred conventional, more expensive wine from a high-quality region. This preference indicates that respondents not only obtain some warm glow value from eco-labeled wine but also possibly interpret eco-labeling as a signal of lower quality. This relationship held across both types of eco-labels, meaning that consumers did not understand the difference between them. This research contributes to the literature on information disclosure policies by highlighting important elements for effective eco-labels. These elements include consumer awareness and understanding of the eco-label, and consumer willingness to pay for an eco-labeled product. The results emphasize the need to create eco-labels that communicate clearly both the environmental attributes and the private benefits associated with them. (shrink)

This book completes medical care by adding the comprehensive humanistic perspectives and philosophy of medicine.

Purpose. To consider the uniqueness of Descartes’ way of interpreting poetry as a type of philosophizing that makes it possible to comprehend the metaphysical nature of man. Its implementation involves the consistent solution of the following tasks: a) understanding methodological changes in the philosophy of the 20th century in the process of actualization of anthropological interest; b) argumentation of the importance of poetic thinking for early Descartes in the process of addressing modern historians of philosophy and the thinker’s texts. Theoretical (...) basis. I rely on the conceptual positions of phenomenology, existentialism and hermeneutics. Originality. Finding of the study is that poetic thinking is the most authentic way of meaningful comprehension of the metaphysicity of man. The paper outlines the nature of the expression of this correlation in the philosophizing of the 20th-21th centuries and substantiates the thesis about the importance of the poetic principle for understanding the phenomenon of man in early works by Descartes. Conclusions. The paper examined the methodological shifts in anthropologically oriented philosophizing of the 20th-21th centuries and focused on the manifestations of related moments in the philosophical legacy of Descartes. The latter demonstrates the existence of a still underestimated version of interpreting the metaphysical foundations of human existence, the form of understanding of which is poetic thinking. It is a form of caring for the humane in man. (shrink)