Decades of research conducted in Western, Educated, Industrialized, Rich, & Democratic (WEIRD) societies have led many scholars to conclude that the use of mental states in moral judgment is a human cognitive universal, perhaps an adaptive strategy for selecting optimal social partners from a large pool of candidates. However, recent work from a more diverse array of societies suggests there may be important variation in how much people rely on mental states, with people in some societies judging accidental harms just (...) as harshly as intentional ones. To explain this variation, we develop and test a novel cultural evolutionary theory proposing that the intensity of kin-based institutions will favor less attention to mental states when judging moral violations. First, to better illuminate the historical distribution of the use of intentions in moral judgment, we code and analyze anthropological observations from the Human Area Relations Files. This analysis shows that notions of strict liability—wherein the role for mental states is reduced—were common across diverse societies around the globe. Then, by expanding an existing vignette-based experimental dataset containing observations from 321 people in a diverse sample of 10 societies, we show that the intensity of a society's kin-based institutions can explain a substantial portion of the population-level variation in people's reliance on intentions in three different kinds of moral judgments. Together, these lines of evidence suggest that people's use of mental states has coevolved culturally to fit their local kin-based institutions. We suggest that although reliance on mental states has likely been a feature of moral judgment in human communities over historical and evolutionary time, the relational fluidity and weak kin ties of today's WEIRD societies position these populations' psychology at the extreme end of the global and historical spectrum. (shrink)

Carruthers argues that an integrated faculty of metarepresentation evolved for mindreading and was later exapted for metacognition. A more consistent application of his approach would regard metarepresentation in mindreading with the same skeptical rigor, concluding that the “faculty” may have been entirely exapted. Given this result, the usefulness of Carruthers’ line-drawing exercise is called into question.

We present a one per cent measurement of the cosmic distance scale from the detections of the baryon acoustic oscillations in the clustering of galaxies from the Baryon Oscillation Spectroscopic Survey, which is part of the Sloan Digital Sky Survey III. Our results come from the Data Release 11 sample, containing nearly one million galaxies and covering approximately 8500 square degrees and the redshift range 0.2 < z < 0.7. We also compare these results with those from the publicly released (...) DR9 and DR10 samples. Assuming a concordance Λ cold dark matter cosmological model, the DR11 sample covers a volume of 13 Gpc3 and is the largest region of the Universe ever surveyed at this density. We measure the correlation function and power spectrum, including density-field reconstruction of the BAO feature. The acoustic features are detected at a significance of over 7σ in both the correlation function and power spectrum. Fitting for the position of the acoustic features measures the distance relative to the sound horizon at the drag epoch, rd, which has a value of rd,fid = 149.28 Mpc in our fiducial cosmology. We find DV = at z = 0.32 and DV = at z = 0.57. At 1.0 per cent, this latter measure is the most precise distance constraint ever obtained from a galaxy survey. Separating the clustering along and transverse to the line of sight yields measurements at z = 0.57 of DA = and H =. Our measurements of the distance scale are in good agreement with previous BAO measurements and with the predictions from cosmic microwave background data for a spatially flat CDM model with a cosmological constant. © 2014 The Author Published by Oxford University Press on behalf of the Royal Astronomical Society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Callimachus in Context: From Plato to the Augustan Poets by Benjamin Acosta-Hughes, Susan A. StephensIvana PetrovicBenjamin Acosta-Hughes and Susan A. Stephens. Callimachus in Context: From Plato to the Augustan Poets. Cambridge: Cambridge University Press 2012. xvi + 328 pp. 4 maps. Cloth, $99.Callimachus is a scholar’s poet, not just because his poetry is difficult and challenging, but also because we tend to see a reflection of ourselves in (...) him: self-assured to the point of arrogance, delighting in recondite words and fun facts, a target of unfair criticism from malevolent and envious colleagues. Callimachus was for decades perceived as antiquarian, bookish, a scholar whose poetry was divorced from the performative setting, not championing civic values, but rather l’art pour l’art avant la lettre. The main focus of scholarship used to be Callimachus’ relationship with the Greek poetic tradition, and virtuoso studies in intertextuality demonstrated just how rich and wide-ranging the tapestry of his allusions is, from poetry to technical writings in prose. However, in the last couple of decades, this image of Callimachus as the ivory-tower scholar-poet began to change. In his ground-breaking monograph Callimachus and His Critics (Princeton 1995), Alan Cameron argued that Callimachus was a prominent and active figure at the Alexandrian court, and far from an armchair intellectual.In recent years, numerous scholars have looked into the way Callimachus was indeed a child of his own time. Brill’s 2011 Companion to Callimachus (edited by the authors of the present book and Luigi Lehnus) is a good illustration of the current state of affairs in Callimachus scholarship: six out of twenty-seven papers discuss Callimachus’ relationship with the royal family and explore his status as a court-poet, his attitude to contemporary religion, and the geopoetics of his poetry and its political implications.This book is a successful union of the two aforementioned approaches to the poet. First, the authors set out to “contextualize Callimachus within his intellectual traditions and within his physical and social environments”; second, they pose five questions: “Why do there appear to be so many Platonic tangents in Callimachus? Why, in a poet considered the model of the ‘bookish’ author, are there so many indications of poetic performance? What is the rapport between the Ptolemies and their political interests and a remarkably diffuse body of work of one court poet? Why is Callimachus an ongoing feature of Roman poetic culture, and in such a particular way?” (viii). They provide an answer to each of these questions in separate chapters, carefully and meticulously negotiating between the study of intertexts and Callimachus’ social contexts.The introduction is fast-paced and fact-based. It provides an overview of Callimachus’ career and the political and cultural history of his native city, Cyrene, and his adopted home, Alexandria. It is the choice of facts and the sharp eye for detail that sets this section apart from a mere collection of data: by discussing the poetic production of the lesser-known Cyrenaean epic poet Eugamon, the authors provide “a glimpse into regional poetics and how it operated within the broader Panhellenic context” (6); careful reading of inscriptions and an assessment of the archaeological remains allows them to offer an interesting suggestion regarding [End Page 365] the dramatic performances of dithyrambic choruses in connection with the festival of the Carneia, which Callimachus memorably described in his Hymn to Apollo.A succinct discussion of Cyrenaean cults brings together results of decades of archaeological study and allows material culture to inform and enrich our view of Callimachus’ poetry: there was a bronze Delian palm in the Cyrenaean sanctuary of Leto (cf. H. Ap. 1–2); the local temple of Zeus Olympius had a cult statue that replicated Phidias’ (cf. Iambus 6); Thesmophoria were probably celebrated in the Cyrenaen sanctuary of Demeter and Kore (cf. H. Dem.); a number of local statue-groups and reliefs coincide with figures in Callimachus’ poetry. By juxtaposing the old and venerable city Cyrene with the newly founded cosmopolitan Alexandria in Egypt, the authors emphasize the cultural contrast between Callimachus’ native city and his chosen home. Since Callimachus was a poet active in a city... (shrink)

The standard methodology of comparative psychology has long relied upon a distinction between cognition and ‘mere association’; cognitive explanations of nonhuman animals behaviors are only regarded as legitimate if associative explanations for these behaviors have been painstakingly ruled out. Over the last ten years, however, a crisis has broken out over the distinction, with researchers increasingly unsure how to apply it in practice. In particular, a recent generation of psychological models appear to satisfy existing criteria for both cognition and association. (...) Salvaging the standard methodology of comparative psychology will thus require significant conceptual redeployment. In this article, I trace the historical development of the distinction in comparative psychology, distinguishing two styles of approach. The first style tries to make out the distinction in terms of the properties of psychological models, for example by focusing on criteria like the presence of rules & propositions vs. links & nodes. The second style of approach attempts to operationalize the distinction by use of specific experimental tests for cognition performed on actual animals. I argue that neither style of criteria is self-sufficient, and both must cooperate in an iterative empirical investigation into the nature of animal minds if the distinction is to be reformed. (shrink)

We offer an overview of what we take to be the main themes in Annalisa Coliva’s book, Moore and Wittgenstein: Scepticism, Certainty and Common Sense. In particular, we focus on the ‘framework reading’ that she offers of Wittgenstein’s On Certainty and its anti-sceptical implications. While broadly agreeing with the proposal that Coliva puts forward on this score, we do suggest one important supplementation to the view—viz., that this way of dealing with radical scepticism needs to be augmented with an account (...) of the meta-sceptical problem which this proposal generates, which we call epistemic vertigo. (shrink)

In The Norm of Belief, John Gibbons claims that there is a “natural reaction” to the general idea that one can be normatively required to Ø when that requirement is in some sense outside of one’s first person perspective or inaccessible to one. The reaction amounts to the claim that this is not possible. Whether this is a natural or intuitive idea or not, it is difficult to articulate exactly why we might think it is correct. To do so, we (...) need a view about the relationship between agents’ capacities to accord with normative requirements and the conditions under which those normative requirements obtain. I offer an account of the epistemic dimension of this relationship. The goal is to provide enough of a story about the natural reaction to make accounting for it look like an important desideratum for any theory of the nature of normative requirements—whether these are moral or epistemic. To focus the discussion, I use Timothy Williamson’s knowledge-first view of evidence as an example of a view in epistemology that generates the natural reaction. One upshot of the discussion, then, is a detailed account of what is troubling about Williamson’s influential but controversial view of evidence. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

The practice of biobank networking—where biobanks are linked together, and researchers share human tissue samples—is an increasingly common practice both domestically and internationally. The benefits from networking in this way are well established. However, there is a need for ethical oversight in the sharing of human tissue. Ethics committees will increasingly be called upon to approve the sharing of tissue and data with other researchers, often via biobanks, and little guidance currently exists for such committees. In this paper, we provide (...) a structured approach to the ethical review of on-sharing of data and tissue for research purposes. (shrink)

Shadow on the Steps: Time Measurement in Ancient Israel. SBL Resources for Biblical Study, vol. 64. By David Miano. Atlanta: Society of Biblical Literature, 2010. Pp. xx + 267, illus. $34.95.

This essay outlines some fundamental differences between the evaluative and explanatory language of Aristotelian practical reason based on his empirical psychological theory of human development, on the one hand, and the late 20th and 21st century discourse of human rights based on a NeoKantian transcendent principle of universal human dignity on the other. To what extent are these two types of political discourse compatible in today’s globalizing world? To the extent that they are not compatible, which should be preferred? My (...) answer is that they are compatible and even complementary, but only if the Aristotelian framework is treated as more fundamental, and the rights-and-dignity perspective is understood as a potentially good political solution, for the time being, in the contemporary context of global politics. (shrink)

The twentieth century has been described as the time of man’s discovery of himself; few have contributed more to this cause than Erik Erikson. _The Clinical Erik Erikson: A psychoanalytic method of engagement and activation_ highlights Erikson’s transforming contributions to the field of psychoanalysis and honors his legacy by providing unpublished clinical case illustrations of his actual psychotherapeutic work. The publication of case material—simple memorable fragments and clinical vignettes— brings the reader into Erikson’s consultation room, providing a portrait of his (...) clinical technique and demonstrating how he actually worked. Stephen Schlein, an authority on Erikson, presents an illuminating account of Erikson’s pioneering work through an exhaustive search of his early monographs on child psychoanalysis, clinical writings, psychotherapeutic case studies, and participation at case conferences at The Austen Riggs Center. Erikson’s writings reveal a psychoanalytic method of extraordinary richness that emphasizes essential ingredients of an interpersonal-relational clinical method and articulates interactional dimensions that have restorative potential. His vision focuses on the relationship, its powerful affects, and a belief that human beings have a potent capacity for real change. This book will be essential reading for psychoanalysts and psychoanalytic psychotherapists. (shrink)

What is art's relationship to play? Those interested in this question tend to look to modern philosophy for answers, but, as this book shows, the question was already debated in antiquity by luminaries like Plato and Aristotle. Over the course of eight chapters, this book contextualizes those debates, and demonstrates their significance for theoretical problems today. Topics include the ancient child psychology at the root of the ancient Greek word for 'play', the numerous toys that have survived from antiquity, and (...) the meaning of play's conceptual opposite, the 'serious'. What emerges is a concept of play markedly different from the one we have inherited from modernity. Play is not a certain set of activities which unleashes a certain feeling of pleasure; it is rather a certain feeling of pleasure that unleashes the activities we think of as 'play'. As such, it offers a new set of theoretical challenges. (shrink)

I’ve been both fascinated and distressed by the arguments raging over how best to respond to the covid-19 pandemic. In particular, I’ve been struck by the way people claim scientific authority for their confident assurances of what needs to be done. And I’m especially intrigued by the scorn they often lavish on those who hold differing views on what science is telling us. The heat generated by the resulting debates is strikingly similar to the heat generated by debates over the (...) science connected with human-caused climate change. And in both cases, the disputants too often presuppose indefensibly naïve views about scientific authority and certitude, apparently unaware that even the allegedly most obvious logical truths lack the certainty attributed to scientific authority in these debates. As a rule, I dislike re-circulating my Editorials, but I think it’s time to resurrect one (modestly tweaked) from a few years ago, addressing precisely this issue (Vol. 31, No. 3, pp. 379–386, 2017). …………………………………… “Man is a rational animal who always loses his temper when he is called upon to act in accordance with the dictates of reason.” --Oscar Wilde I’ve often noticed how debates within the SSE community sometimes parallel debates in the political arena, perhaps especially with respect to the passion they elicit and the intolerance and condescension sometimes lavished on members of the “opposition.” Occasionally, of course, the debates in the SSE are nearly indistinguishable from those in the political arena—say, over the evidence for human-caused climate change. But what I find most striking is how the passion, intolerance, etc.—perhaps most often displayed by those defending whatever the “received” view happens to be—betrays either a surprising ignorance or else a seemingly convenient lapse of memory, one that probably wouldn’t appear in less emotionally-charged contexts. What impassioned partisans tend to ignore or forget concerns (a) the tentative nature of both scientific pronouncements and knowledge claims generally (including matters ostensibly much more secure than those under debate), as well as (b) the extensive network of assumptions on which every knowledge claim rests. So I’d like to offer what I hope will be a perspective-enhancer, concerning how even our allegedly most secure and fundamental pieces of a priori knowledge are themselves open to reasonable debate. A widespread, but naïve, view of logic is that no rational person could doubt its elementary laws. But that bit of popular “wisdom” is demonstrably false. And if that’s the case, then so much the worse for the degree of certitude we can expect in more controversial arenas. Let me illustrate with a few examples.[1] [1] I’m indebted to Aune, 1970 for much of what follows. (shrink)

Guilt and forgiveness, with their attendant philosophical and religious ramifications, permeate writing on the Holocaust and can also be related to South Africa’s recent history and present situation. Two controversial and provocative books (both possibly autobiographical) which tackle the question of guilt and forgiveness head on are Simon Wiesenthal’s The Sunflower and Bernhard Schlink’s The Reader, both of which have led to much debate. The central event in both texts is the slaughter of innocents, burned to death in a building (...) during World War II, while the perpetrators (an SS officer who tells his story in The Sunflower and a concentration camp warder who refuses to tell hers in The Reader) either kill those trying to escape or totally ignore the screams of the victims. The reader has to decide whether it is plausible that years later these murderers feel genuine guilt and, if so, whether they should be forgiven – and by whom. The Reader can be seen as the obverse of The Sunflower. The two should be read in conjunction for an intriguing view of the human psyche, the dichotomy in the soul of a person preceding and succeeding his/her horrific deeds, and the questions arising of whether death can be faced by the wicked with a clear conscience, whether the fear of meeting one’s Maker engenders belated remorse, whether one changes if found out, and whether ignorance of mind betokens evil of soul which can be overcome with learning and insight. (shrink)

This paper discusses the fragmentation of psychology and proposals for unification hitherto proffered. It is argued that unity will not be achieved until competing ideas regarding morality, ontology, epistemology, and so forth are critically examined and evaluated. Ideas that pass theoretical muster and that cohere with human moral interests will provide a theoretical starting point for unification efforts. 2012 APA, all rights reserved).

If we think about comedy in terms of stock characters, Shakespeare provides some startling examples. Here, for instance, are two hypothetical casts: A jealous husband, a chaste wife, an irascible father, a clever malicious servant, a gullible friend, a bawdy witty maid; A pair of lovers, their irascible fathers, a bawdy serving woman, a witty friend, a malicious friend, a kindly foolish priest. Both of these groups represent recognizable comic configurations, though in fact they are also the casts of Othello (...) and Romeo and Juliet. Being able to see them in this light, I think, reveals something important about how both these tragedies work. Much of their dramatic force derives from the way they continually tempt us with comic possibilities. We are told in a prologue that Romeo and Juliet are star-crossed, but if inevitability is a requisite of tragedy, neither play will qualify for the genre: they are the most iffy dramas in the Shakespearean canon. At innumerable points in both plays, had anything happened differently, the tragic catastrophe would have been averted. Othello particularly teases the audience in this way—as the famous story about the man who leapt from his seat, furious at the impending murder of Desdemona, and shouted "You fool, can't you see she's innocent?" reveals. The story is no doubt apocryphal , but the point is that it is unique to this play: there are no similar tales of spectators leaping up to rescue Cordelia, to save Gloucester from blinding, to dash the asp from Cleopatra's hand. Stephen Orgel, professor of English at Johns Hopkins University, is the author of The Jonsonian Masque, The Illusion of Power, and the coauthor of Inigo Jones. The editor of Jonson's Complete Masques and of Jonson's Selected Masques , he is currently writing a book on the idea of theatrical genres in the Renaissance. (shrink)

Leslie Stephen was a writer, philosopher and literary critic whose work was published widely in the nineteenth century. As a young man Stephen was ordained deacon, but he later became agnostic and much of his work reflects his interest in challenging popular religion. This two-volume work, first published in 1876, is no exception: it focuses on the eighteenth-century deist controversy and its effects, as well as the reactions to what Stephen saw as a revolution in thought. Comprehensive (...) and full of detailed analysis, this is an important work in the history of ideas. Volume 1 contains a thorough discussion of the arguments for and against deism. The debate is placed in a wider philosophical context and the works of Descartes, Locke and Hume are all discussed in detail. The volume concludes with an examination of theological thought at the end of the century. (shrink)

Der vorliegende Aufsatz stellt den vorläufigen Versuch dar, Wesen und Zweck von Klages’ Charakterologie mittels seiner Grundlagen der Charakterkunde (Bonn: Bouvier 1951) zu bestimmen und mit Bahnsens Beiträgen zur Charakterologie (Leipzig: Brockhaus 1867) zu vergleichen. Sowohl Julius Bahnsen (1830–1881) als auch Ludwig Klages (1872–1956) gelten als eminente Vertreter der Charakterologie. Sie wirkten, zwar nur durch wenige Jahrzehnte getrennt, in verschiedenen Jahrhunderten und mit unterschiedlichen Absichten. Die Unterschiedlichkeit in Bestimmung und Ausführung ihrer jeweiligen Charakterologie kann daher nicht überraschen; für Klages dient (...) sie, wie auch die Graphologie und andere Deutungsstützen, dem Zweck, seine ganzheitliche Schau fest im Anschaulichen zu gründen – oder wenigstens den Eindruck einer solchen Gründung zu vermitteln. Die Eigenheiten die ser Schau lassen sich aber nur aus dem Gegensatz von Geist und Leib/Seele im Sinne Klages verstehen. Daher sind die Grundlagen der Charakterkunde vor allem eine Einführung in das Weltbild Klages, ein Leitfaden, in dem, darauf sei vorab hingewiesen, eher postuliert als aufgeklärt wird. Die folgende Untersuchung stellt zunächst die Charakterologie Klages in ihren weltanschaulichen Grundzügen dar, bevor im zweiten Abschnitt Bahnsens Beiträge zur Charakterologie besprochen werden. Im letzten Abschnitt werden die sich daraus erge benden Rückschlüsse auf die intellektuellen Eigenarten Klages’ und Bahnsens dargelegt. (shrink)

The present article aims to introduce the field of “Zoorhetorics”, as a particular case of Biorhetorics, earlier introduced by the author in the academic world. A brief explanation will be provided of its aims, methods and models, while particular attention will be devoted to the concept of “sustainable good”, considered crucial in both the “Bio-” and “Zoorhetorics” formulations.

The paper explicates Bonhoeffer's dense statement, made in a 1932 lecture, that `Reality is the sacrament of [the ethical] command'. It begins with a summary of William T. Cavanaugh's rich description of the Eucharist as that act which makes the Church Christ's body, thereby constituting the true res publica. A comparison is drawn with Bonhoeffer's account of the sacramental foundation of the Church's public proclamation of God's ethical command. Bonhoeffer differs from Cavanaugh, I suggest, not only in his conviction that (...) the Church speaks God's command penultimately and with humility, but in regarding the state as one of the means by which God acts within the penultimate to preserve creation. (shrink)

Is the world of appearances the real world? Are there facts that exist independently of our minds? Are there vague objects? _Russell on Metaphysics_ brings together for the first time a comprehensive selection of Russell's writing on metaphysics in one volume. Russell's major and lasting contribution to metaphysics has been hugely influential and his insights have led to the establishment of analytic philosophy as a dominant stream in philosophy. Stephen Mumford chronicles the metaphysical nature of these insights through accessible (...) introductions to the texts, setting them in context and understanding their continued importance. _Russell on Metaphysics_ is both a valuable introduction to Bertrand Russell as a metaphysician, and an introduction to analytic philosophy and its history. (shrink)

Scrutinizing the critical tendency to label texts or writers as "postmodern", scholar Stephen Watt argues that "reading post modernly" merely implies reading culture more broadly. In contemporary drama, Watt considers postmodernity less a question of genre or media than a mode of subjectivity shared by both playwright and audience. 6 illustrations.

Following several earlier, relatively obscure occurrences of the term in Latin and French sources, the concept of nihilism first enters the broader philosophical discussion in Europe toward the end of the eighteenth century as a critique of German idealism, above all that of Kant and Fichte. Although essential scholarship on this early history has long been available in German, it has remained largely neglected by discussions of nihilism in English. Olson’s contribution on “nihilism” in Edwards’ standard Encyclopedia of Philosophy, though (...) certainly dated, is perhaps typical. Nietzsche, of course, is presented as the most prominent historical figure, with brief mention given to Russian origins and to nineteenth-century uses of the term as a condemnation of atheism. Yet the fundamental philosophical development of nihilism in the context of German idealism receives no attention whatsoever. At least as early as 1900, German scholars had already traced the first use of the concept back to Jacobi, specifically to his influential “Circular Letter to Fichte” of 1799. However, only the most recent studies in English even begin to acknowledge this crucial early development. (shrink)

A comparison of the engineering schools at UC Berkeley and Stanford during the 1940s and 1950s shows that having an excellent academic program is necessary but not sufficient to make a university entrepreneurial. Key factors that made Stanford more entrepreneurial than Cal during this period were superior leadership and a focused strategy. The broader institutional context mattered as well. Stanford did not have the same access to state funding as public universities and some private universities. Therefore, in order to gather (...) resources, Stanford was forced to become entrepreneurial first, developing business skills at the same time Cal was developing political skills. Stanford ’s early development of entrepreneurial business skills played a crucial role in the development of Silicon Valley. (shrink)

Purpose The purpose of this paper is to explore Turkish students’ perceived relevance of Facebook, the value of Facebook advertisements and the ethics of Facebook targeting users with advertisements. Design/methodology/approach Latent class cluster analysis is estimated to determine whether segments exist and whether covariates differ among segments. Findings Segments differ on Facebook relevance and advertisement targeting ethics and usefulness and the covariates gender, hours spent on Facebook during the week and personality. The segment that finds Facebook most relevant and uses (...) it the most disapproves of Facebook’s targeted advertisements. Facebook is an organization that relies heavily on advertising dollars for survival. This fact should be emphasized; otherwise, Facebook may not be able to sustain itself. Originality/value The paper provides an understanding of Facebook from a marketing perspective for a country at the crossroads of Europe and Asia. (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)