Gathering the fragments of an enigma Content Type Journal Article DOI 10.1007/s11016-010-9493-1 Authors Sean Dyde, Unit for the History and Philosophy of Science, University of Sydney, Carslaw F07, Sydney, NSW 2006, Australia Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

This paper presents an analysis of the characteristics of men who become stepfathers, and their subsequent fertility patterns and lifetime reproductive success. Because women who already have children are ranked lower in the marriage market than women without children, men who marry women with children (e.g., stepfathers) are likely to have lower rankings in the marriage market as well. Using retrospective fertility and marital histories from the Panel Study of Income Dynamics (PSID), I show that men who become stepfathers have (...) lower levels of education, less income, and are more likely to have been divorced before and to already have children, all characteristics that lower their rankings in the marriage market. Men with one or two stepchildren are just as likely to have children within a marriage as non-stepfathers, although men with three stepchildren show decreased fertility. Among men age 45 and older, stepfathers have lower lifetime fertility than non-stepfathers, although the difference disappears when men’s age at first marriage is controlled for. Additionally, stepfathers have significantly higher fertility than men who never marry. The results suggest that some men become stepfathers to procure mates and fertility benefits that they would otherwise have been unlikely to obtain; for these men, raising other men’s children serves as a form of mating effort. (shrink)

Pieper follows a philosophical tradition set down by Plato, who bears only a superficial relationship to Plato's Stepchildren (TOS) Aristotle, and Thomas Aquinas, all of whom could find some affinity with Star Trek and other sci‐fi/fantasy adventures that tell a good morality tale or stretch the limits of human imagination. Aristotle points out, humans, as rational animals, isn't satisfied with mere pleasure seeking, but is driven to reflect upon the limitless possibilities of existence. The value of festive pursuits during (...) higher times is grounded in the connection between human and divine minds. Socrates set the standard for communal and individual self‐exploration when he emphatically said that the unexamined life is not worth living. Knowledge, according to Aristotle, is not only speculative in nature, encompassing scientific and theoretical reasoning, but also practical, that is, technical and ethical reasoning. (shrink)

This Article argues that U.S. law should give protection to relationships between cohabitants and their partners’ children when necessary to avoid the economic and emotional trauma that may be caused by separation of the child from a member of his or her household if the cohabitation ends. After examining the social science literature about the welfare of both stepchildren and children of cohabitants and the inadequate legal treatment of custody, visitation, and child support issues under current law, the author (...) recommends that cohabiting stepparents be given standing to seek custody if they have acted as de facto parents, with a presumption in favor of custody by the stepparent when the cohabitant who is the child’s biological parent has died and the possibility of joint custody in other cases; be awarded visitation if both the ex-cohabitant and child desire it; and be obligated to pay child support for the child if the cohabitation dissolves after a period of two years or more. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order to (...) make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order to (...) make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order to (...) make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

This study investigates the determinants of paternal investment by birth fathers and stepfathers. Inclusive fitness theory predicts higher parental investment in birth children than stepchildren, and this has consistently been found in previous studies. Here we investigate whether paternal investment varies with childhood co-residence duration and differs between stepfathers and divorced birth fathers by comparing the investment of (1) stepfathers, (2) birth fathers who are separated from the child’s mother, and (3) birth fathers who still are in a relationship (...) with her. Path analysis was conducted using cross-sectional data from adolescents and younger adults (aged 17–19, 27–29, and 37–39 years) from the German Family Panel (pairfam), collected in 2010–2011 (_n_ = 8326). As proxies of paternal investment, we used financial and practical help, emotional support, intimacy, and emotional closeness, as reported by the children. We found that birth fathers who were still in a relationship with the mother invested the most, and stepfathers invested the least. Furthermore, the investment of both separated fathers and stepfathers increased with the duration of co-residence with the child. However, in the case of financial help and intimacy, the effect of childhood co-residence duration was stronger in stepfathers than in separated fathers. Our findings support inclusive fitness theory and mating effort theory in explaining social behavior and family dynamics in this population. Furthermore, social environment, such as childhood co-residence was associated with paternal investment. (shrink)

Women who are abused by their male intimate partners incur many costs, ranging in severity from fleeting physical pain to death. Previous research has linked the presence of children sired by a woman’s previous partner to increased risk of woman abuse and to increased risk of femicide. The current research extends this work by securing data from samples of 111 unabused women, 111 less severely abused women, 128 more severely abused women, and 26 victims of intimate partner femicide from the (...) Chicago Women’s Health Risk Study to document an ordinal trend in the risk of experiencing more severe forms of violence for women who have children in the household sired by a previous partner. The discussion addresses two potential explanations for this trend and highlights directions for future research. (shrink)

Evolutionary psychology and intelligent‐design theory both need to be able to account for the empirical world, or the world as it is. This essay is an attempt to clarify the challenges these theories need to meet, if the relevant empirical findings are replicable. There is evidence of change in the biological world and of modularity of mind, and there is a growing body of work that finds evolutionary theory a convincing and fruitful account of the “design” of the mind. Three (...) major empirical findings within evolutionary psychology are presented and discussed. The author claims that Cartesian dualism, as it is usually meant within psychology—a split between body and mind—is false, but that Descartes' original division between body and soul has not been challenged and is not challenged by the evidence that the mind is also a biological entity. The article concludes that the convergence of theology and science is to be found in the onus to discover the truth about the world as it really is, and this calls for an ability on both parts to account for the empirical world. (shrink)