The Dead Sea Scrolls have demonstrated the fluidity of biblical and early Jewish texts in antiquity. How did early Jewish scribes understand the nature of their pluriform literature? How should modern textual critics deal with these fluid texts? Centered on the Serekh ha-Yaḥad - or Community Rule - from Qumran as a test case, this volume tracks the development of its textual tradition in multiple trajectories, and suggests that it was not understood as a single, unified composition even in (...) antiquity. Attending to material, textual, and literary factors, the book argues that ancient claims for textual identity ought to be given priority in discussions among textual critics about the ontology of biblical books. (shrink)

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed on (...) a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

Literary ontology is essentially a phenomenological issue rather than one of epistemology, sociology, or psychology. It is a theory of the phenomenological essence intuited from a sense of beauty, based on the phenomenological ontology of beauty, which puts into brackets the sociohistorical premises and material conditions of aesthetic phenomena. Beauty is the objectified emotion. This is the phenomenological definition of the essence of beauty, which manifests itself on three levels, namely emotion qua selfconsciousness, sense of beauty qua emotion, (...) and sentiment qua sense of beauty. Art on the other hand is the objectification of emotion whose most general and closest manner to humanity is literature and poetry. Poetry is the origin of language and the linguistic essence is a metaphor. Language as the house of being is both thinking and poetry. Literature expresses the essence of art in the most direct way and, in traditional Chinese aesthetic terminology, literature is the language of emotion conveyed by the writer based on his own emotion towards the language of scene. (shrink)

Typically, literature is defined ontologically as linguistically-fixed texts consisting of specific words and word order. However, some have noted that this condition is too strict for linguistically-fluid works such as the Iliad where the words and word order differ in their various instances. I argue that it is not strict enough for some works of literature, such as pattern poetry and the novels of Irvin Welsh and Mark Z. Danielewski, that have a further ontological condition. In that the (...) graphic features play an artistic role in these works, those graphic features must be reproduced in an authentic copy. Using exemplars in both poetry and prose, I define these works as graphically-fixed literature and identify a sufficient condition of such works specific to their graphic features. Finally, I examine copies of graphically-fixed works that omit their graphic features as well as audiobook and Braille editions that necessarily lack graphic components. (shrink)

Jeffrey E. Brower presents and explains the hylomorphic conception of the material world developed by Thomas Aquinas, according to which material objects are composed of both matter and form. In addition to presenting and explaining Aquinas's views, Brower seeks wherever possible to bring them into dialogue with the best recent literature on related topics. Along the way, he highlights the contribution that Aquinas's views make to a host of contemporary metaphysical debates, including the nature of change, composition, material constitution, (...) the ontology of stuff vs. things, the proper analysis of ordinary objects, the truthmakers for essential vs. accidental predication, and the metaphysics of property possession. (shrink)

The mainstream approach to the understanding of pain continues to be governed by the biomedical paradigm and the dualistic Cartesian ontology. This Volume brings together essays of scholars of literature, philosophy and history on the many enigmatic shades of pain-experience, mostly from an anti-Cartesian perspective of cultural ontology by scholars of literature, philosophy and history. A section of the essays is devoted to the socio-political dimensions of pain in the Indian context. The book offers a critical (...) perspective on the reductive conceptions of pain and argue that non-substance ontology or cultural ontology supports a more humane and authentic understanding of pain. The general ontological features of the self in pain and culturally imbued dimensions of pain-experience are, thus, brought together in a rare blend in this Volume. The essays dwell on the importance of understanding what cultural, social and political forces outside our control do to our pain-experience. They show why such understanding is necessary, both to humanely deal with pain, and to rectify erroneous approaches to pain-experience. They also explore the thoroughly ambivalent spaces between pain and pleasure, and the cathartic and productive dimensions of pain. The essays in this Volume investigate pain-experiences through the fresh lenses of history, gender, ethics, politics, death, illness, self-loss, torture, shame, dispossession and denial. (shrink)

Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and ...

What are words? What makes two token words tokens of the same word-type? Are words abstract entities, or are they (merely) collections of tokens? The ontology of words tries to provide answers to these, and related questions. This article provides an overview of some of the most prominent views proposed in the literature, with a particular focus on the debate between type-realist, nominalist, and eliminativist ontologies of words.

Statistics play a critical role in biological and clinical research. However, most reports of scientific results in the published literature make it difficult for the reader to reproduce the statistical analyses performed in achieving those results because they provide inadequate documentation of the statistical tests and algorithms applied. The Ontology of Biological and Clinical Statistics (OBCS) is put forward here as a step towards solving this problem. Terms in OBCS, including ‘data collection’, ‘data transformation in statistics’, ‘data visualization’, (...) ‘statistical data analysis’, and ‘drawing a conclusion based on data’, cover the major types of statistical processes used in basic biological research and clinical outcome studies. OBCS is aligned with the Basic Formal Ontology (BFO) and extends the Ontology of Biomedical Investigations (OBI), an OBO (Open Biological and Biomedical Ontologies) Foundry ontology supported by over 20 research communities. We discuss two examples illustrating how the ontology is being applied. In the first (biological) use case, we describe how OBCS was applied to represent the high throughput microarray data analysis of immunological transcriptional profiles in human subjects vaccinated with an influenza vaccine. In the second (clinical outcomes) use case, we applied OBCS to represent the processing of electronic health care data to determine the associations between hospital staffing levels and patient mortality. Our case studies were designed to show how OBCS can be used for the consistent representation of statistical analysis pipelines under two different research paradigms. By representing statistics-related terms and their relations in a rigorous fashion, OBCS facilitates standard data analysis and integration, and supports reproducible biological and clinical research. (shrink)

A review of U. Mäki (ed.). Fact and Fiction in Economics, Cambridge: Cambridge University Press, 2003. pp. xvi 384. ISBN 0521 00957. As people interested mainly in theory, methodologists and philos...

In Risk Management, security issues arise from complex relations among objects and agents, their capabilities and vulnerabilities, the events they are involved in, and the value and risk they ensue to the stakeholders at hand. Further, there are patterns involving these relations that crosscut many domains, ranging from information security to public safety. Understanding and forming a shared conceptualization and vocabulary about these notions and their relations is fundamental for modeling the corresponding scenarios, so that proper security countermeasures can be (...) devised. Ontologies are instruments developed to address these conceptual clarification and terminological systematization issues. Over the years, several ontologies have been proposed in Risk Management and Security Engineering. However, as shown in recent literature, they fall short in many respects, including generality and expressivity - the latter impacting on their interoperability with related models. We propose a Reference Ontology for Security Engineering (ROSE) from a Risk Treatment perspective. Our proposal leverages on two existing Reference Ontologies: the Common Ontology of Value and Risk and a Reference Ontology of Prevention, both of which are grounded on the Unified Foundational Ontology (UFO). ROSE is employed for modeling and analysing some cases, in particular providing clarification to the semantically overloaded notion of Security Mechanism. (shrink)

The recent scientific discoveries cast a new light on the classical distinction between the actual and the possible. A creative elaboration upon this theme, stimulated by works on modal logic and controversies around the semantics of Kripke, has been developed in contemporary discussions on epistemological aspects of quantum cosmology and on ontological preconditions of genetic determinants.Proceeding from new scientific theories, in the paper an attempt is undertaken to determine the ontological structure of nature in which one satisfactorily explains new data (...) implied by these theories. In the context of contemporary physical discoveries the very concept of possible being is reinterpreted. A new version of moderate Platonism is proposed in a form of modified modal actualism. Its classical counterpart was earlier developed by Robert C. Stalnaker and Alvin Plantinga in their ontology of the possible worlds. (shrink)

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when (...) judging theories. A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

CPT invariance and the spin-statistics connection are typically taken to be essential properties in relativistic quantum field theories (RQFTs), insofar as the CPT and Spin-Statistics theorems entail that any state of a physical system characterized by an RQFT must possess these properties. Moreover, in the physics literature, they are typically taken to be properties of particles. But there is a Received View among philosophers that RQFTs cannot fundamentally be about particles. This essay considers what proofs of the CPT and (...) Spin-Statistics theorems suggest about the ontology of RQFTs, and the extent to which this is compatible with the Received View. I will argue that such proofs suggest the Received View’s approach to ontology is flawed. (shrink)

A basic form of iconicity in literature is the correspondence between basic conceptual schemata in literary semantics on the one hand and in factual treatments on the other. The semantics of a subject like espionage is argued to be dependent on the ontology of the field in question, with reference to the English philosopher Barry Smith’s “fallibilistic apriorism”. This article outlines such an ontology, on the basis of A. J. Greimas’s semiotics and Carl Schmitt’s philosophy of state, (...) claiming that the semantics of espionage involves politology and narratology on an equal footing. The spy’s “positional” character is analyzed on this basis. A structural difference between police and military espionage is outlined with reference to Georges Dumézil’s theory of the three functions in Indo-European thought. A number of ontological socalled “insecurities” inherent in espionage and its literary representation are outlined. Finally, some hypotheses are stated concerning the connection between espionage and literature, and some central allegorical objects — love, theology — of the spy novel are sketched, and a conclusion on the iconicity of literature is made. (shrink)

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views (...) that have been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

The term ontology of cognition is introduced to promote a neo-Kantian approach to epistemological questions. Following the discussion of some aspects of philosophy of cognitive subject authors claim that the most appropriate approach requires turning attention to a whole human species as a governed by the evolution rules collective, cognitive subject rather than individual one.

The purpose of this work is to characterize clearly the early Wittgenstein’s position in context of the contemporary discussions between the adherers of classical ontology, based on the notion of substance, and its detractors. The Aristotle’s ousiology is usually regarded as a locus classicus of substantial ontology. A noticeable tendency in the contemporary philosophy is the rejective stance towards the notion of substance and towards the vision of the reality as the ‘totality of things’ ( summa rerum ). (...) This trend goes through the 20th century (B. Russell, etc.) and is prominent in the philosophy of the 21th century. Wittgenstein, who calls the world the totality of facts, not of things, is sustainably regarded in the secondary literature as a herald of a non-classical way of thought, presented in his ontology of facts - a radical alternative to substantial ontology. However, how can this claim cohere with the active usage of the classical substantialism terms, going back to Aristotle, in the “Tractatus Logico-Philosophicus”? In order to answer this question, it’s advisably to address, as the starting point of the analysis, the work of B. Wolniewicz comparing Wittgensteinian ontology to Aristotelian ontology and pointing out not only difference, but also parallelism between them. In the present paper, it’s shown that some of Wolniewicz’s remarks are valuable, but the overall view of the problem should be corrected and supplemented taking into account nuances of both Aristotelian and Wittgensteinian ontologies. Having in mind the results of this analysis, one can read the early Wittgenstein’s philosophy as a statement about the role of the classical forms of thought for a philosopher proposing a non-classical worldview, which helps to elucidate the structure of the contemporary ontological discussions. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, (...) metaphor, literary value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

While the terrorism studies literature speaks of a shape of terrorism unique to modernity, the exact nature of modern terrorism, let alone the nature of modernity or its starting point, remain much in dispute. In this article we suggest that the confusion and conflict within the literature arises from a tendency to focus on certain outward or inessential features associated with modernity. In order to truly answer the question of what makes modern terrorism modern, the question needs to (...) be set on a new footing, one which inquires into the necessary and not instrumental relationship between modernity and terrorism—i.e., that inquires into the possibility of an inner dynamic which can take us from the nature of modernity itself to terrorism. In this article we suggest that the intellectual resources for an understanding of modern terrorism in the fullest sense can be found within the preeminent nineteenth-century philosopher of the birth of the modern, G.W.F. Hegel. More specifically, through a reconstruction of Hegel’s account of the French Revolution we can uncover the possibility of understanding modern terrorism as an ontological rather than a temporal category. In other words, we can uncover resources that help us grasp what modern terrorism is, rather than in what age—with its instrumental possibilities given by, say, technology or ideology—it is found. What makes modern terrorism truly modern, we will argue, is a particular shape of self-consciousness that, Hegel shows us, stands as the deep structure of early modernity, and which contains within it an inner dynamic towards a uniquely modern shape of terrorism. While all terrorism that occurs within modernity is not modern, a truly modern terrorism can be identified. (shrink)

Our purpose in this paper is to delineate an ontology for quantum mechanics that results adequate to the formalism of the theory. We will restrict our aim to the search of an ontology that expresses the conceptual content of the recently proposed modal-Hamiltonian interpretation, according to which the domain referred to by non-relativistic quantum mechanics is an ontology of properties. The usual strategy in the literature has been to focus on only one of the interpretive problems (...) of the theory and to design an interpretation to solve it, leaving aside the remaining difficulties. On the contrary, our aim in the present work is to formulate a “global” solution, according to which different problems can be adequately tackled in terms of a single ontology populated of properties, in which systems are bundles of properties. In particular, we will conceive indistinguishability between bundles as a relation derived from indistinguishability between properties, and we will show that states, when operating on combinations of indistinguishable bundles, act as if they were symmetric with no need of a symmetrization postulate. (shrink)

Scientific models occupy centre stage in scientific practice. Correspondingly, in recent literature in the philosophy of science, scientific models have been a focus of research. However, little attention has been paid so far to the ontology of scientific models. In this essay, I attempt to clarify the issues involved in formulating an informatively rich ontology of scientific models. Although no full-blown theory—containing all ontological issues involved—is provided, I make several distinctions and point to several characteristic properties exhibited (...) by scientific models that are relevant for individuating scientific models. (shrink)

In addressing the fundamental issues of Merleau-Ponty’s last ontology, for which Being is an expressive movement, this paper focuses on Merleau-Ponty’s reflections on painting, sculpture and, mainly, cinema. Two reasons justify such a choice. The first one is that Merleau-Ponty’s reflections on films as artistic objects are starting to become better known, while an exclusive privilege has been too long given to his texts on painting, sculpture and literature. An enrichment of our reading of his aesthetics and (...) class='Hi'>ontology is thus made possible. The second reason is that, although it is true that Merleau-Ponty’s general aesthetic doctrine introduces us to the question of movement, of its meaning and its ontological status as “expression,” it is even more true that, in the framework of this general aesthetic doctrine, his analyses of the mode of expression of cinematographic images become especially significant. (shrink)

In addressing the fundamental issues of Merleau-Ponty’s last ontology, for which Being is an expressive movement, this paper focuses on Merleau-Ponty’s reflections on painting, sculpture and, mainly, cinema. Two reasons justify such a choice. The first one is that Merleau-Ponty’s reflections on films as artistic objects are starting to become better known, while an exclusive privilege has been too long given to his texts on painting, sculpture and literature. An enrichment of our reading of his aesthetics and (...) class='Hi'>ontology is thus made possible. The second reason is that, although it is true that Merleau-Ponty’s general aesthetic doctrine introduces us to the question of movement, of its meaning and its ontological status as “expression,” it is even more true that, in the framework of this general aesthetic doctrine, his analyses of the mode of expression of cinematographic images become especially significant. (shrink)

Our purpose in this paper is to delineate an ontology for quantum mechanics that results adequate to the formalism of the theory. We will restrict our aim to the search of an ontology that expresses the conceptual content of the recently proposed modal-Hamiltonian interpretation, according to which the domain referred to by non-relativistic quantum mechanics is an ontology of properties. The usual strategy in the literature has been to focus on only one of the interpretive problems (...) of the theory and to design an interpretation to solve it, leaving aside the remaining difficulties. On the contrary, our aim in the present work is to formulate a “global” solution, according to which different problems can be adequately tackled in terms of a single ontology populated of properties, in which systems are bundles of properties. In particular, we will conceive indistinguishability between bundles as a relation derived from indistinguishability between properties, and we will show that states, when operating on combinations of indistinguishable bundles, act as if they were symmetric with no need of a symmetrization postulate. (shrink)

The paper aims to reconstruct Heidegger’s historical-intentional assumptions in his ontological interpretation of Kant’s Critique of Pure Reason. The paper presents young Heidegger’s project of the “metaphysical-teleological interpretation of consciousness.” The project indicates the direction of his further ontological interpretation of transcendentalism: Heidegger stands up to the traditional, well known neo-Kantian interpretation of the Critique, and offers a new conception of ontological knowledge and cognition. According to this conception, cognition is grounded in transcendental imagination where a threefold synthesis takes place. (...) Heidegger’s original temporal interpretation of transcendental schematism is also recalled to stress the significance of his new ontological approach to Kant’s theoretical philosophy. (shrink)

We describe an ontology of philosophy that is designed to aid navigation through philosophical literature, including literature in the form of encyclopedia articles and textbooks and in both printed and digital forms. The ontology is designed also to serve integration and structuring of data pertaining to the philosophical literature, and in the long term also to support reasoning about the provenance and contents of such literature, by providing a representation of the philosophical domain that (...) is oriented around what philosophical literature is about. (shrink)

Because the techno-economic paradigm of contemporary conceptualizations of innovation is often taken for granted in the literature, this chapter opens up this self-evident notion. First, the chapter consults the work of Joseph Schumpeter, who can be seen as the founding father of the current conceptualization of innovation as technological and commercial. Second, we open up the concept by reflecting on two aspects of Schumpeter’s conceptualization of innovation, namely its destructive and its constructive aspect, based on findings in the history (...) of innovation. Finally, we synthesize our findings and propose an ontic-ontological conceptualization of innovation as ontogenetic process and outcome with six dimensions—newness, political dimension, economic dimension, temporal dimension, human dimension and risk—that moves beyond its technological and commercial orientation. (shrink)

Questions central to the ontology of art include the following: what sort of things are works of art? Do all works of art belong to any one basic ontological category? Do all or only some works have multiple instances? Do works have parts or constituents, and if so, what is their relation to the work as a whole? How are particular works of art individuated? Are they created or discovered? Can they be destroyed? Explicit and extensive treatments of these (...) topics written prior to the 19th century have yet to be found. This does not mean, however, that there is nothing relevant to these ontological questions in early writings on beauty, the arts, and related matters. For example, Aristotle's claims about the functions and elements of tragedy can be mined for ideas about the nature of literary works more generally. And what can be made of the hint, in Metaphysics Eta, 6, that the unity of The Iliad is a matter of a set of words made “one” by being connected together? Rather than attempting to make conjectures about such difficult exegetical topics, this entry focuses primarily on contributions made by authors who explicitly address themselves at length to some of the aforementioned questions pertaining to the ontology of works of art, either in general or with reference to such major art forms as music, literature, painting, architecture, and sculpture. One further note about the scope of this entry is in order. Instructive surveys of the subfield of aesthetics known as the ontology of art are fairly plentiful; see Nicholas Wolterstorff, Gregory Currie, Joseph Margolis, Stephen Davies, Amie Thomasson, Guy Rohrbaugh, Theodore Gracyk, Robert Stecker, and Carl Matheson and Ben Caplan. Surveys of the history of the field have not, however, been forthcoming, and the comments on this topic that crop up in the literature are sketchy and sometimes quite misleading. One shortcoming has been a marked tendency to focus on contributions from the last two decades of the 20th century, the one salient exception being due attention paid to works by Roman Ingarden. The present entry has been designed with this shortcoming in mind. A schematic mapping of questions and positions is provided and reference is made to neglected, earlier contributions to the ontology of art. (shrink)

The importance of John Locke's discussion of persons is undeniable. Locke never explicitly tells us whether he thinks persons are substances or modes, however. We are thus left in the dark about a fundamental aspect of Locke's view. Many commentators have recently claimed that Lockean persons are modes. In this paper I swim against the current tide in the secondary literature and argue that Lockean persons are substances. Specifically I argue that what Locke says about substance, power, and agency (...) commits him to the claim that persons are substances. I consider the passages mode interpreters cite and show why these passages do not imply that Lockean persons are modes. I also respond to two objections anyone who thinks Lockean persons are substances must address. I show that a substance reading of Locke on persons can be sympathetic and viable. I contend that with a clearer understanding of the ontological status of Lockean persons we can gain a firmer grasp of what Locke's picture of persons looks like. Finally, once we are armed with a better understanding of Locke on substance, mode, and personhood, we can pave the way toward a more nuanced description of the early modern debate over personal identity. (shrink)

Utilizing Einstein’s comparison of General Relativity and Descartes’ physics, this investigation explores the alleged conventionalism that pervades the ontology of substantival and relationist conceptions of spacetime. Although previously discussed, namely by Rynasiewicz and Hoefer, it will be argued that the close similarities between General Relativity and Cartesian physics have not been adequately treated in the literature—and that the disclosure of these similarities bolsters the case for a conventionalist interpretation of spacetime ontology.

In this work we discuss issues of ontological commitment towards one of the most important examples of contemporary fundamental science: the standard model of particle physics. We present a new form of selective structural realism, which uses as its basis the distinction between what have been called framework and interaction theories. This allows us to advance the ongoing debate about the ontological status of (quasi-)particles and quantum fields, by emphasising the distinction between quantum field theory serving as a framework, and (...) the standard model itself, which we argue is an interaction theory embedded within this framework. Following a discussion of what ontological commitments corresponds to each of these two classes, we argue that some of the previous proposals in the literature might have been misguided by the blending of quantum field theory and the standard model into an undifferentiated unity, and defend a moderate form of object realism with respect to particle-like entities. (shrink)

Why are we deeply moved by the misfortune of Anna Karenina if we are fully aware that she is simply a fictional character who does not exist in our world?But what does it mean that fictional characters do not exist? The present article is concerned with the ontology of fictional characters. The author concludes thatsuccessful fictional characters become paramount examples of the ‘real’ human condition because they live in an incomplete world what we have cognitive access to but cannot (...) influence in any way and where no deeds can be undone. Unlike all the other semiotic objects, which are culturally subject to revisions, and perhaps only similar to mathematical entities, the fictual characters will never change and will remain the actors of what they did once and forever. (shrink)

In this paper, I aim to show that analytic philosophy can contribute to the theological discussion of ecclesiology. By considering recent analytic work on social ontology, I outline how we might think of the Church as one entity, constituted by many disparate parts. The paper begins with an overview of the theological constraints for the paper, and then proceeds to examine recent work on the philosophy of social ontology and group agency. Drawing on this literature, I outline (...) three models of social ontology from the history of philosophy and suggest reasons why all of them fail to provide an account of the Church’s agency. Finally, I develop an alternative model which, I suggest, better fits the conditions stipulated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FÉLIX MaRTÍNEZ-?????? TOWARDS A FORMAL ONTOLOGY OF FICTIONAL WORLDS In this discussion ' I propose a few concepts for the description and classification of fictional "worlds." The variety of fictional systems of"reality" can be understood, I diink, as an aspect ofthe phenomenon of style in literary imagination.2 But styles of imagination or of vision, and die style of literary works, are more than simply kinds of fictional worlds. (...) To put in some perspective my attempt at classification of literary works according to their systems of reality, I will make first a few remarks on the notion of style. It is a well-known preliminary problem when speaking of style diat this word seems to have more than one meaning in ordinary usage. I think that some ofits current meanings are rich and important, and that literary knowledge would profit if we could reconstruct them in abstract and defined concepts, so that the notions involved were somewhat clarified. I doubt diat diis is possible with current conceptual tools. We can see what is meant, say, when we hear diat a certain person we know "has style"; and we certainly distinguish diis attribute from others such as elegance, good manners, character, taste, originality, mannerisms, or idiosyncracies. Thus, we occasionally perceive in personal behavior a phenomenon called style. A conceptual description or a satisfactory definition of such a given, however, seems very difficult. Speaking of matters of art and literature, "style" has been used, among other things, to designate both the conventional forms of traditional expression (as in "manuals of style") and the anomalous, convention-breaking forms of highly individuated creation (as in die classic conception of Vosslerian-Spitzerian Stylistics, or in Buffon's "Le style c'est l'homme même," as usually understood). Style, dien, as conformity and style as singularity and deviance; style as impersonal decorum and as presence of a unique personal essence in the work. This perplexing ambiguity may be reducible though. Whether conventional and common or personal and innovative, style appears to be a form that characterizes and holds together a creation or a phenomenal entity. Indeed, the fact that 182 Félix Martínez-Bonati183 singular innovations of style often become the common trait of a school or current and sometimes a part of general tradition seems to indicate that neither singularity nor general acceptance are the most basic elements of die notion of style. On first reflection, we may conceive of style as a formal principle that consistently determines the constitution of die pertinent objects. Nonetíieless, constitutive form is too weak a definition for style, since it would also apply to what is called "technique" and even to genre. We must look for a more specific determination. There is anodier ambiguity in everyday uses of die word "style" diat deserves attention. We speak often of "good style" and "bad style." But sometimes we speak as if no style is bad and the thing that matters is to have style at all and as much of it as possible. Thus, we condemn a work because of its having no style or only a weak one. This contradiction probably derives from the confusion of a particular normative, a general normative, and a merely descriptive notion of style. We should keep, if possible, to a merely descriptive notion. Still another uncertainty of usage, in literary matters, relates to the (not universally accepted) restriction of the notion of style to a linguistic one; style, in this restricted usage, is seen as primarily an attribute of diction. The most numerous of literary studies of die style of singular works have been, so far as I can see, descriptions of idiolects. In many cases, the linguistic peculiarity is taken as an index of the world-view or die style of imagination diat is supposed to have produced the work. Alternative to this approach, indeed complementary, is the study of literary style as an attribute of die fictional entities to which literary discourse refers. We find the latter kind of approach mostly in characterizations of genres or of periods ("the naturalist novel," "romance," "classicism," etc.). One may suppose that an exhaustive analysis of the idiolect of a work... (shrink)

Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and (...) Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures. (shrink)

Introducing the ontology of theory choice -/- Economists choose theories and they choose ways of pursuing theories, and they leave others unchosen. Why do economists choose the way they do? How should economists choose? What are the objectives and what are the constraints? What should they be? The questions are both descriptive and prescriptive. -/- There are two broad classes of “criteria of choice” that have been somewhat systematically considered in the recent literature on economic methodology: (1) Empirical (...) criteria. There are several possible ways of incorporating empirical criteria in one's theory of science. The respective methodology of theory assessment may be static or dynamic, it may be deductivist or inductivist, it may include various ideas of what constitutes empirical evidence, and so on. What they all share is the general idea that scientific theories are, or are to be, checked against empirical evidence according to some rules, and that this determines the choice of theory. (2) Social criteria. Again, there are several options. The social criteria may be related to the social interests of scientists or larger social collectives, they may be based on the persuasiveness and tradition-boundedness of theories, they may involve social or moral norms, they may be derived from various costs and benefits of holding a theory in a given research community, and so on. If they involve empirical data, it is the social aspects of the data that matter. What all these views share is that scientific theories are taken to have social attributes (functions, consequences) that play or should play a major role in theory choice. (shrink)

In _Autonomy_ Nicholas Brown theorizes the historical and theoretical argument for art's autonomy from its acknowledged character as a commodity. Refusing the position that the distinction between art and the commodity has collapsed, Brown demonstrates how art can, in confronting its material determinations, suspend the logic of capital by demanding interpretive attention. He applies his readings of Marx, Hegel, Adorno, and Jameson to a range of literature, photography, music, television, and sculpture, from Cindy Sherman's photography and the novels of (...) Ben Lerner and Jennifer Egan to _The Wire_ and the music of the White Stripes. He demonstrates that through their attention and commitment to form, such artists turn aside the determination posed by the demand of the market, thereby defeating the foreclosure of meaning entailed in commodification. In so doing, he offers a new theory of art that prompts a rethinking of the relationship between art, critical theory, and capitalism. (shrink)