This chapter contains sections titled: A Shared Fantasy Thinking About This Shared Fantasy Thinking About Our Thinking About This Fantasy Notes.

It is trivially true that comedians make jokes and thus are not serious; they are “just playing.” But watching Louis CK, especially his performances in Chewed Up, Shameless, and Hilarious, it is evident that he has more in mind than simply getting his audience to frivolously guffaw. I will make the case that this is so given the content of some of his humor which centers on areas of socio-political-ethical tensions that can be uncomfortable when addressed in a direct, “bona-fide” (...) communicative mode. I will concentrate upon his playful, yet serious, account of issues surrounding race and privilege which, though not obvious center-pieces, can be found in almost all of his performances. These are complex areas that are not obvious fodder for humor, and it is clear that his comedic repertoire is broad enough that he is not including these issues for lack of funnier bits. I will argue that through his humor, he at once brings to consciousness hidden biases, challenges them in a subversive manner on behalf of those harmed by cultural stereotypes, e.g., and opens up an otherwise adversarial audience to the possibility that they harbor such unwanted stereotypes—a necessary element in consciousness-raising. My account will require a brief distinction between seriousness and playfulness, a defense of the claim that we are drawn to humor even when it is used to question our cherished presuppositions, and an interpretation of thought experiments that parallels Louis CK’s comedic mechanisms in his stand-up performances and episodes from Louie. In some cases he is explicit that he is just “making shit up” (Oh My God), or, as he cautions in the setup to a story in Shameless, “it doesn’t matter cus’ I’m gonna lie to you.” But that does not take away from my point that he is serious with his humor about social reality in the same way that philosophers have traditionally “made shit up” with thought experiments for serious purposes. Louis CK employs a similar device with his humor, and in many ways is more effective than philosophers in making the implicit explicit for his (much larger) audiences who then spread his word. (shrink)

A philosophical exploration of the entire seven-book _Harry Potter_ series _Harry Potter_ has been heralded as one of the most popular book series of all time and the philosophical nature of Harry, Hermione, and Ron's quest to rid the world of its ultimate evil is one of the many things that make this series special. _The Ultimate Harry Potter and Philosophy _covers all seven titles in J.K. Rowling's groundbreaking_ _series and takes fans back to Godric's (...) Hollow to discuss life after death, to consider what moral reasoning drove Harry to choose death, and to debate whether Sirius Black is a man or a dog. With publication timed to coincide with the release of the movie _Harry Potter and the Deathly Hallows, _this book will be the definitive guide for all fans looking to appreciate the series on a deeper level. Covers a range of intriguing topics such as the redemption of Severus Snape, the power of love, and destiny in the wizarding world Gives you a new perspective on _Harry Potter_ characters, plot lines, and themes Makes a perfect companion to the _Harry Potter _books and movies Packed with interesting ideas and insights, _The Ultimate Harry Potter and Philosophy _is an ideal companion for anyone interested in unraveling the subtext and exploring the greater issues at work in the story. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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In lieu of an abstract, here is a brief excerpt of the content:Breathing with Mountains1Paul A. Harris (bio)For Sydney Levy, who brought me on board.Geologic AspirationsStone breathes within nature's time cycle…. It begins before you and continues through you and goes on. Working with stone is not resisting time but touching it.—Isamu NoguchiUnder the suffocating circumstances of lockdown, COVID conditions inevitably wafted their way into the stoned thinking of Pierre Jardin.2 The pandemic atmosphere made air apparent, and breathing became personal, (...) political, and planetary. People sought perspective in sometimes surprising ways. While many turned to the Stoics, Jardin turned to stone. Suspending his disbelief in "The Hammock of Relaxation" (fig. 1), Jardin stretched his imagination, and set himself adrift in diffuse reveries of rocky respiration. Click for larger view View full resolutionFigure 1.The Hammock of Relaxation. Pebble on book cover.Photo by author.Jardin composes a life centered in absorbing stone(s), encompassing both a physical process of soaking in a substance slowly and psychological experience of becoming engrossed in it. He feels alive with stone and stone alive in him; literally and metaphorically, he has spent hours looking at stone, listening to stone, and touching/being touched by stone. But he had never seriously considered breathing stone. Immediately, a slew of questions arose: Do rocks breathe? Do mountains? Does the Earth? What would it mean to breathe with a stone, or with the planet? Jardin's pursuit of lithic and lithospheric respirations came to comprise his geologic aspirations, which are set out here. [End Page 261]Aerial ImaginationPierre Jardin's geologic aspirations took inspiration from Gaston Bachelard's aerial imagination, as described in Air and Dreams. Accepting Bachelard's invitation to "listen to nothing but our own breathing…, to become as aerial as our breath…" (Bachelard, Air 241), Jardin set about inventing a regimen of contemplative breathing exercises. To do so, he took up what Bachelard terms the "search for a thought hidden under expressive sedimen,ts, [in which] a geology of silence is developed" (Bachelard Air, 251). The question was, what "expressive sediments" should Jardin mine in this quixotic quest? What materials and mental modalities would precipitate a "geology of silence"?In order to meld minds with Bachelard, Jardin placed a pebble on Robert Lapoujade's pencil portrait that graces the book's cover (fig. 2). The results were alchemical: the cobble transmuted into a philosopher's stone, opening Bachelard's third eye; the rock launched a basalt on Jardin's senses that produced an "intoxication of aerial imagination raised to its cosmic role" (Bachelard, Air 241). A gesture as simple as placing a rock on a book crystallized new quartz-veins of thought. What follows are Jardin's experiments with a variety of "expressive sediments," a series of multi-scalar meditations and various instantiations of lithic respiration. Click for larger view View full resolutionFigure 2.Aerial Basalt on the Senses. Pebble on book cover.Photo by author.Atmospheric CompositionsPierre Jardin's geologic aspirations began with a Composition of Place, a meditative technique deployed in the Spiritual Exercises of Ignatius of Loyola. Loyola stipulates that "for contemplation or meditation about visible things… the 'composition' will consist in seeing through the gaze of the imagination the material place where the object I want to contemplate is situated" (Ganss 47). Taking "Breathing with Mountains" as the "object" of contemplation stretches Jardin's imagination to a geologic scale; its "material place" is the Earth's atmosphere, or more specifically, its lowest layer, the troposphere. [End Page 262]To facilitate his meditation, Jardin scales Earth down to a stunning serpentine stone, which he has mounted like a globe. Holding the stone and breathing slowly, Jardin can visualize the troposphere as the thinnest of films on the rock's surface. In his active imagination, the bumps, furrows, and ridges in the rough rock texture evoke the constant crumpling of the lithosphere caused by drifting and crashing tectonic plates.With the stone standing in for Earth, Jardin suddenly becomes a geologic giant representing Anthropocene humanity. As his exhalations cloud the stone, Jardin considers how Anthropogenic expirations are changing the composition of the Earth's atmosphere. An index of human impact is provided... (shrink)

Can some films be genuine thought experiments that challenge our commonsense intuitions? Certain filmic narratives and their mise-en-scène details reveal rigorous reasoning and counterintuitive outcomes on philosophical issues, such as skepticism or personal identity. But this philosophical façade may hide a mundane concern for entertainment. Unfamiliar narratives drive spectator entertainment, and every novel cinematic situation could be easily explained as part of a process that lacks motives of philosophical elucidation. -/- The paper inverses the above objection, (...) and proposes that when the main cinematic character resists spectator engagement (a crucial source of cinematic entertainment), emotionally challenged spectators also question their commonsensical beliefs about his/her actions, and detect a conceptually novel situation as such. -/- A case study is Mike Leigh’s film Happy-Go-Lucky (2008), in which the main female character presents an unrelenting but eccentric version of 'feel good' happiness. Spectators gradually detect that the previously unexamined, commonsensical version of subjective happiness comes at the price of individual eccentricity, and that the choice of a subjective theory of happiness leads to consequences hitherto unacknowledged. (shrink)

One of the arguments that has been directed against the Buddhist anātman (“non-self”) theory, by Dan Zahavi among others, is that the doctrine cannot account for why we never mistake our own bodies for the bodies of others. This is not, however, a new objection; it can be found, for example, in a list of objections to the anātman doctrine in the Dazhidulun (“Treatise on the Great Perfection of Wisdom”), a medieval compendium attributed to Nāgārjuna and compiled and translated (and (...) perhaps partially authored) by Kumārajīva in the early fifth century. The text offers several responses to this objection, the most interesting of which is the claim that there is indeed an instance of a person experiencing himself as another. We then hear the tale of a young man who went through a “body transplant”—his body is replaced, piece by piece, with that of a corpse. In my chapter, I analyze this amusing but nonetheless illuminating narrative, showing how the story is a classic example of a medieval Buddhist “thought experiment” (Gedankenspiel), which was freely altered by Buddhist authors as it was deployed in different doctrinal/philosophical contexts. I conclude with some reflections on how our approach to such didactic tales affects our understanding and appreciation of Buddhist philosophy writ large. (shrink)

This paper seeks to explain and evaluate, by an analytic method, the conflict between determinism and free will from the viewpoint of two physicalist reductionist philosophers, namely, Daniel Dennett and Sam Harris. Dennett is a compatibilist philosopher who tries to show compatibility between determinism and free will, while Sam Harris is a non-compatibilist philosopher who turns to determinism with the thesis that our thoughts and actions have been pre-determined by the neurobiological events associated with them, and thus, considers free will (...) to be an illusion. Therefore according to him, we are not the authors of our thoughts and actions. However, Dennett tries to establish the existence of free will through the use of concepts like control and deliberation and defends ‘free will worth wanting’. Therefore, if we take the agency of the agent and the absence of determinism as two criteria for free will, Dennett accepts both and Harris denies them; since there is neurobiological determinism, and all of Dennett’s deliberations, etc. are also determined neurobiologically. Between the two conditions of free will, Dennett accepts that the origin of action must be in the agent; however, he refutes the condition of alternate possibilities, establishing his view based on a causal theory. As a Neo-Darwinist, he explains human beings’ physical and mental phenomena based on evolution theory and despite accepting causal determinism, he shows how the agent can still have agency in decisions and actions. As a result, he does not consider determinism to requisite compulsion. In his philosophical system, one can change the future that has not yet taken place. This decision-making regarding the future takes place through the process of deliberation, which has a special place in Dennett’s view. On the other hand, by adhering to Libet’s neurological experiments, Harris refutes both conditions of free will and considers the cause of all human being actions to arise from activities of the brain and concludes that one cannot have any conscious control over one’s actions. As a result, he emerges as a non-compatibilist determinist. In both his works, The Moral Landscape and Free Will, Harris addresses the topic of free will. In Free Will, he criticizes the view of compatibilists like Dennett, who responds to those criticisms in his article, ‘Reflections on Free Will, Review of Sam Harris’ Free Will’. Like Harris, Dennett too addresses free will in his two important books, Elbow Room and Freedom Evolves. Following an analysis of the views of Dennett and Harris and explaining the criticisms of the two regarding each other, the present article will show that neither Dennett, considering the rest of the elements of his philosophical views in philosophy of mind and philosophy of action can well justify compatibilism, nor can Harris, considering his neurological approach defend his determinist idea. The conflict that is present in Dennett’s views causes his explanation of the agent being the origin of his action to also be indefensible. Furthermore, due to the incompatibility of the different elements of his view and the vagueness of his idea regarding the effect of unconscious intentions on action, Harris too is placed in a weak position. In contrast to Harris’ supposition, a human is not “a puppet [who] is free as long as he loves his strings”; rather, a human chooses, makes decisions and acts according to his own will. As a result, despite the objections that apply to both philosophers, Dennett’s view is more acceptable than Harris’ in terms of the effort to justify free will; even though neither have been apparently successful in defending their own ideas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 454-456 [Access article in PDF] Michael Potter. Reason's Nearest Kin: Philosophies of Arithmetic from Kant to Carnap.New York: Oxford University Press, 2000. Pp. x + 305. Cloth, $45.00. This book tells the story of a remarkable series of answers to two related questions:(1) How can arithmetic be necessary and knowable a priori? [End Page 454](2) What accounts for the applicability (...) of arithmetic to matters of empirical fact?These are philosophical questions, part of a "wider puzzle of explaining the link between experience, language, thought, and the world" (18). But answers to them are heavily constrained by technical results in logic and mathematics, and most of Potter's protagonists are either mathematicians (Frege, Dedekind, Ramsey, Hilbert, Gödel) or mathematically trained philosophers (Kant, Russell, Carnap). (Only Wittgenstein fits neither category.) Potter, whose doctorate was in pure mathematics, is an able guide.It is not hard to think of answers to these questions taken singly; what is hard is answering both at the same time. Formalists can easily explain why arithmetic does not depend for its justification on empirical fact—it is just a game with symbols, not responsible to anything beyond its own rules—but they then have trouble explaining why the world of empirical fact is constrained by this game. Empiricists can explain the applicability of arithmetic in just the same way they explain the applicability of physics, but they then must then explain away the apparent a prioricity and necessity of arithmetic. Kant was the first to propose a plausible answer to both questions: arithmetic is both necessary and empirically applicable because it is grounded in the spatio-temporal form of any possible experience.What unites Frege, Dedekind, Russell, Ramsey, Hilbert, and Carnap is that they reject Kant's answer while continuing to seek an answer to his question: how can arithmetic's necessity be reconciled with its applicability? Potter helpfully classifies their projects by the surrogates they substitute for Kant's appeal to the form of spatio-temporal intuition: Frege and Dedekind appeal to thought, Russell to necessary features of the world, Wittgenstein, Ramsey, and Carnap to language, and Hilbert to the necessary structure of our experience of finitary combinations of objects. (Revealingly, the logicists are not grouped together in Potter's taxonomy.) A chapter (or two) is devoted to each of these thinkers, plus Kant and Gödel.This breadth of coverage does not come at the price of superficiality: Potter's chapters are (by and large) accurate, penetrating, and full of interesting insights. I cannot think of another book that offers such clear explanations of the many mathematical concepts and distinctions one must grasp in order to follow debates in the philosophy of arithmetic. The Russell chapters are enhanced by numerous quotations from archival material. The exposition of Hilbert's programme and the implications for it of Gödel's theorems is the best I have seen. The discussions of Wittgenstein's views on arithmetic and of Carnap's syntactical approach also shine. The chapters on Kant and Frege are somewhat weaker; the discussion of Kant, in particular, would have benefited from some engagement with Michael Friedman's views.But the real contribution of Potter's book is its integration of these nine thinkers into a single coherent story. No one will be surprised that Russell's motivations can only be understood in light of Frege's failures, or that many features of Wittgenstein's cryptic work become clearer when seen in light of the specific problems with Russell's system. But there are also some less obvious payoffs: for example, Hilbert's programme is usefully compared with Russell's regressive method (227-8), and Carnap and Russell are shown to face a common dilemma (269, 286).If there is a central theme to Potter's story, it is "how often we have had to reject an [End Page 455] account not for philosophical reasons but for technical ones" (278). Frege's program founders on Russell's paradox, Russell's... (shrink)

Over the last decade, attention has crawled from out of the shadows into the philosophical limelight with several important books and widely read articles. Carolyn Dicey Jennings has been a key player in the attention revolution, actively publishing in the area and promoting awareness. This book was much anticipated by insiders and does not disappoint. It is in no way redundant with respect to other recent monographs, covering both a different range of material and developing novel positions throughout. The (...) book might have been called The Attending Self, since Jennings defines attention as mental prioritization controlled by the self. This invocation of the self is among her central innovations, and may prove to be the main source of controversy. I will highlight points of contention here, but want to emphasize at the outset that the book is essential reading for anyone interested in attention. Jennings also contributes to a range of other debates, which will help a broader audience appreciate the importance this topic.After a brief introduction, Jennings provides “a philosophical landscape” of attention (chap. 2), tracing the concept through history. This is an invaluable achievement that will be welcomed by both newcomers and veterans. Jennings exhibits enormous breadth, covering areas that contemporary philosophers of mind tend to neglect: medieval philosophy, Buddhist thought, and phenomenology, to name a few. We also get perspectives on attention from core figures in the Western canon, such as Descartes, Locke, and Kant, as well as thinkers who gave the topic a more political inflection: Mary Wollstonecraft and W. E. B. DuBois. Jennings surveys contemporary literature as well, locating recent work in these older lineages. Some authors get more treatment later in the book (e.g., William James and Wayne Wu). Overall, Jennings provides the best overview of this history I have seen. She proves that attention is not a new topic, but one with deep roots and one that can inform current debates; Jennings draws on these roots throughout. I would love to see a companion piece surveying scientific theories, including “gain control” and “biased competition,” which get little airtime in the book. Some recent philosophical theories are under-explored as well, including Chris Mole’s concept of cognitive unison (Jennings discusses other aspects of his view), Carlos Montemayor and Harry Haladjian’s exploration of attention’s diversity (we get a touch of this), and my own proposal that attention is a gateway to working memory (not mentioned here). That said, no extant survey is more complete.Chapter 3 begins with the empirical claim that attention is regulated by slow brainwaves, and then takes up two issues. The first is mental causation. Endorsing moderate emergentism, Jennings argues that slow brain waves are causally efficacious even though they are not reducible to lower-level processes. (The metaphysics and neuroscience are presented accessibly, aided by three appendixes.) Second, Jennings argues that these slow brain waves indicate that attention is controlled by the self. As someone who was never moved by the mental causation problem—I don’t think overdetermination threatens efficacy—I would have welcomed more development of this second issue. For one thing, in linking attention to subjective control, Jennings eschews the idea that there can be purely “bottom-up” attention driven by stimulus features alone. This goes against the orthodoxy in attention science, and makes it hard for her to accommodate phenomena such as “pop-out,” or the commonsense idea that attention can be “captured” by a sudden flash or loud sound. For another thing, I wanted to hear more on why Jennings relates slow brain waves to the self. Does this include the slow waves that occur during deep sleep? Is there even such a thing as the self? Is there one self or many? How do slow brain waves reflect our interests, projects, values, self-conceptions, autobiographical narratives, or social identities? Does the social self invoked by Wollstonecraft and DuBois gain a foothold here? The whole chapter campaigns against metaphysical reductionism, but arrives at a perspective on the self that will strike some readers as highly reductive.In the fourth chapter, Jennings sheds further light on her conjecture that attention involves the self by advancing the thesis that attention endows sensory information with meaning. On the face of it, this may sound implausible. Object recognition, reading, and many other meaning-involving processes can take place outside of attention and outside of consciousness. But Jennings has a richer notion of “meaning” in mind. She develops the idea of “subject unity,” which is imposition of structure on perception that reflects the interests of the perceiving subject. This, she claims, is what brings perception into the space of reasons. Along the way, she has interesting observations about binding, feature integration, and demonstrative reference. The material is highly original, and Jennings’s postulation of interest-based perceptual organization is compelling. At the same time, one might wonder whether interests are really relegated to the ambit of attentional control. Consider the cocktail party effect, wherein one’s own name captures attention. This implies a preattentive filter that reflects our interests. Emotionally charged words, facial expressions, and dangerous objects also work this way, and social biases can operate preattentively as well. If these reflect our interests, then meaning may arise outside attention.Jennings’s fifth chapter explores the relationship between attention and consciousness. Some authors have argued that attention is necessary and sufficient for consciousness. Jennings focuses primarily on the necessity claim. She does not systematically review the empirical literature here, but she addresses some of the key findings, and effectively rebuts studies that allege to find consciousness outside attention. She does not rest her case there, however. Instead, she identifies a new class of examples that purport to establish the possibility of consciousness without attention. Her central example she calls “conscious entrainment,” which is what we experience when engaged in habitual or skilled activities. Other possible examples touched on in the chapter include hypervigilance in individuals with attention deficit hyperactivity disorder (ADHD), passive movie watching, dreaming, and “attentional neglect.” These states all involve intense focus, Jennings admits, but not attention. To some readers this may sound contradictory. Isn’t focus a kind of attention? Don’t these states of absorption involve stimulus selection and enhancement of relevant features, suppression of distractors, and other hallmarks of attention? Jennings says none of this is tantamount to attention. Recall that she thinks attention is controlled by the self. In these cases, we are invited to imagine that the self takes a passive role: control is either ceded to the world (movie watching) or to previously mastered routines (skills and habits). Thus, Jennings’s claim that there is no attention in these cases hangs on her contentious thesis that attention requires a controlling self. One might also push back by arguing that, in some of Jennings’s allegedly selfless examples, the self remains involved. Skilled activities and hypervigilance, for example, can reflect personal interests.Skills and hypervigilance get more airtime in chapter 6. There, Jennings turns to questions of responsibility—a neglected topic in attention research. The chapter begins with a manslaughter trial in which the teenage plaintiff was given a light sentence because the judge evidently believed that the teen’s ADHD compromised his ability to control his actions. The example may be a bit triggering for people who have a personal relationship with this diagnosis, but, putting that aside, Jennings uses it to introduce the important concept of attention-based control. With reduced control, Jennings argues, comes reduced responsibility. I am inclined to see ADHD as involving dysregulation of attention (difficulty disengaging and dividing attention, for example) rather than diminished attention, but that can still be characterized as an issue with control of attention; therefore ADHD still illustrates Jennings’s point that there is a link between responsibility and control of attention. This, it turns out, is only half of her story. Having argued for this link, one might expect Jennings to follow Wayne Wu, who contends that attention is necessary for action, and hence for responsibility. She does not. Instead, she says argues that responsibility can also arise in cases of “strategic automaticity.” This brings us back to skills. When skills are deployed, action is governed by learned pairings between stimuli and responses. The choice to exercise a skill requires attention, so attention is needed for being a responsible agent, but once a skill kicks in, attention is no longer required, and one can be held responsible for actions performed skillfully—thus attention is not required for responsibility tout court. Jennings addresses an opposing view (defended by Wu, Ellen Fridland, and Barbara Montero), according to which skills involve “automatic attention” rather than no attention. Jennings worries that this move will collapse the distinction between attention and other kinds of selection and filtering that occur throughout the nervous system, including the retina. She says that the attentional interpretation of skilled action is at odds with the lack of top-down reweighing of sensory inputs, regulated by lateral frontal cortex. These objections to automatic attention warrant response. My own view is that attention involves broadcasting to working memory, so retinal filtering is ruled out. Jennings’s insistence on top-down reweighing will not move those who believe attention can be purely bottom-up. For all that, I side with Jennings in wanting to allow for responsibility without attentional control. I think we can be responsible for implicit biases, for example. I also think attentional control is insufficient for responsibility, as when we act under duress.Jennings offers fresh perspective on the nature of attention, and its role in meaningful perception, consciousness, action, and responsibility. Each chapter can be read separately, but they hang together well, and each reflects her thesis that attention is essentially linked to the self. Though I am skeptical of that strong claim, we would do well to follow Jennings in regarding attention as interest-laden interface between mind and world. I look forward to a sequel in which attention is related to richer conceptions of identity, and where the political consequences of this link are actively explored. Meanwhile, one can hardly fault Jennings for covering too little. She tackles a remarkable range of topics, from metaphysics to ethics. Her arguments throughout demand response, repay careful study, and propel the field forward. (shrink)

How can we experience real emotions when viewing a movie or reading a novel or watching a play when we know the characters whose actions have this effect on us do not exist? This is a conundrum that has puzzled philosophers for a long time, and in this book Robert Yanal both canvasses previously proposed solutions to it and offers one of his own. First formulated by Samuel Johnson, the paradox received its most famous answer from Samuel Taylor Coleridge, who (...) advised his readers to engage in a "willing suspension of disbelief." More recently, philosophers have argued that we are irrational in emoting toward fiction, or that we do not emote toward fiction but rather toward factual counterparts, or that we do not have real but only quasi-emotion toward fiction, generated by our playing games of make-believe. All of these proposed solutions are critically reviewed. Finding these answers unsatisfactory, Yanal offers an alternative, providing a new version of what has been dubbed "thought theory." On this theory, mere thoughts not believed true are seen as the functional equivalent of belief at least insofar as stimulating emotion is concerned. The emoter's disbelief in the actuality of components of the thoughts must be rendered relatively inactive. Such emotion is real and typically has the character of being richly generated yet unconsummated. The book extends this theory also to resolving other paradoxes arising from emotional response to fiction: how we feel suspense over what comes next in a story even when we are re-reading it for a second or third time; and how we take pleasure in narratives, such as tragedy, that excite unpleasant emotions such as fear, pity, or horror. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Adam Smith Reconsidered: History, Liberty, and the Foundations of Modern Politics by Paul SagarJames A. HarrisPaul Sagar. Adam Smith Reconsidered: History, Liberty, and the Foundations of Modern Politics. Princeton, NJ: Princeton University Press, 2022. Pp. xii + 229. Hardback, $37.00.Paul Sagar's invigorating book is a reconsideration of Adam Smith in the sense that it challenges much that is received wisdom in current scholarship. First and foremost, it rejects (...) the idea that Smith was preeminently a moral philosopher concerned with the threat to civic virtue posed by commercial society, and yet intent on giving commercial society a moral vindication nevertheless. Sagar—rightly, in my view—wants us to recognize Smith as having been a political thinker. Too much work on Smith still assumes that there is not much to say [End Page 323] about his political thought because he regarded all but the most minimal government as an obstacle to the proper functioning of markets. Smith is supposed to be a "classical liberal" bent on preserving as much natural liberty as possible in the face of government's relentless overextension of its powers of regulation. In Adam Smith's Politics: An Essay in Historiographic Revision (Cambridge: Cambridge University Press, 1978), Donald Winch rejected that approach to Smith in favor of a portrait of the author of The Theory of Moral Sentiments and The Wealth of Nations as an eighteenth-century thinker with an eighteenth-century thinker's concerns. Sagar's project is quite different. This is a book on Smith's political thought that does not once deploy the term 'Whig.' Sagar's Smith does not wholly float free of his historical situation—the questions he addresses are those posed by the end of feudalism and the advent of modernity—but situating him in the particular circumstances of Britain in the age of revolutions is not Sagar's concern. As Sagar sees it, the fundamental issues addressed by Smith's political thought concern the distinctive form taken by commercial society in the modern era. Smith, according to Sagar, held that all advanced societies are commercial societies. Commercial society as such needed no vindication. The question, rather, was what kind of commercial society a modern state wanted to be. That was a political question insofar as it was a question about the kind of freedom that mattered and about the kind of institutions needed to make that freedom a reality.Defined in maximally general terms, freedom for Smith was the absence of domination, where domination is understood as a lack of security in respect of one's physical safety and possessions. The condition of the poor and powerless had always been one of subjection to the will of the rich and powerful. What changed that, according to Smith, was implementation of the rule of law. This is in itself not a new reading of Smith, but what distinguishes Sagar's version of it is the care with which he examines both the place of the rule of law in Smith's historical account of the emergence of liberty in modern Europe and the precise nature of the connection between the rule of law and freedom. First, on Sagar's view, there needed to be a comprehensive picture of domination and slavery, which had been the normal condition of almost everyone for almost all of human history. Then there needed to be an explanation of how it was that, at one particular historical moment, domination was slowly but surely challenged by the emergence of law and law courts considered as independent of political power. In England, this was the story of the common law and of judges who held office for life, rather than at the pleasure of traditional possessors of power. It was the story of security in property, of the backing of property by law, and it was a largely urban story, of burghers who managed to enlist monarchs on their side in the battle against the barons. It was, in other words, in large part a medieval story, and one consequence is that there was more to say about the rise of liberty in the modern age than that it was caused inadvertently by... (shrink)

Derek Parfit (1942-2017) is the most famous philosopher you've likely never heard of. In 1984, Parfit published what was, and is still, hailed by many philosophers as a work of genius - one of the most cited works of philosophy since World War II, Reasons and Persons. At its core, he argued that we should be concerned less with our own interests and more with the common good. His book brims with brilliant argumentative detail and stunningly inventive thought experiments (...) that challenged contemporary views about what it means to be a person, why one should forego concern for oneself as an identity that persists over time, what it means to act on the basis of reasons, and what we owe to future generations. Parfit also - unfashionably at the time - believed in a kind of grand unified theory of morality, what he called theory x, a non-religious ethical theory wherein all the major moral theories were converging from different sides on the same mountaintop. Parfit has had an enormous influence not only on philosophy, but also beyond, particularly amongst those in the fields of climate ethics, poverty relief, and charitable giving. In this book, the first-full scale biography of Parfit, Dave Edmonds tells the story of the thinker that many philosophers consider the most important moral philosopher of the last century. Edmonds' rendering of the man in full skilfully illuminates the person behind the acclaimed philosopher. Despite Parfit's extraordinary mind, outward appearances suggest his was also an extraordinarily uneventful life - one largely spent in cloistered institutions from Eton to Oxford and one seemingly monomaniacally devoted to ideas. Edmonds' aim is to show how this son and grandson of missionaries went from a genial and outgoing history student to a captivating, yet monkish philosopher singularly devoted to saving morality. In doing so, Edmonds makes Parfit's profound, but often impenetrable, ideas accessible to a broad audience and gives life and body to the thoughts of a seemingly pure thinker that captured the imagination of a generation of philosophers. (shrink)

Charles Mills makes visible in the world of mainstream philosophy some of the crucial issues of the black experience. Ralph Ellison's metaphor of black invisibility has special relevance to philosophy, whose demographic and conceptual "whiteness" has long been a source of wonder and complaint to racial minorities. Mills points out the absence of any philosophical narrative theorizing and detailing race's centrality to the recent history of the West, such as feminists have articulated for gender domination. European expansionism in (...) its various forms, Mills contends, generates a social ontology of race that warrants philosophical attention. Through expropriation, settlement, slavery, and colonialism, race comes into existence as simultaneously real and unreal: ontological without being biological, metaphysical without being physical, existential without being essential, shaping one's being without being in one's shape. His essays explore the contrasting sums of a white and black modernity, examine standpoint epistemology and the metaphysics of racial identity, look at black-Jewish relations and racial conspiracy theories, map the workings of a white-supremacist polity and the contours of a racist moral consciousness, and analyze the presuppositions of Frederick Douglass's famous July 4 prognosis for black political inclusion. Collectively they demonstrate what exciting new philosophical terrain can be opened up once the color line in western philosophy is made visible and addressed. (shrink)

One of the world’s leading philosophers offers aspiring thinkers his personal trove of mind-stretching thought experiments. Over a storied career, Daniel C. Dennett has engaged questions about science and the workings of the mind. His answers have combined rigorous argument with strong empirical grounding. And a lot of fun. Intuition Pumps and Other Tools for Thinking offers seventy-seven of Dennett’s most successful "imagination-extenders and focus-holders" meant to guide you through some of life’s most treacherous subject matter: evolution, meaning, mind, (...) and free will. With patience and wit, Dennett deftly deploys his thinking tools to gain traction on these thorny issues while offering readers insight into how and why each tool was built. Alongside well-known favorites like Occam’s Razor and reductio ad absurdum lie thrilling descriptions of Dennett’s own creations: Trapped in the Robot Control Room, Beware of the Prime Mammal, and The Wandering Two-Bitser. Ranging across disciplines as diverse as psychology, biology, computer science, and physics, Dennett’s tools embrace in equal measure light-heartedness and accessibility as they welcome uninitiated and seasoned readers alike. As always, his goal remains to teach you how to "think reliably and even gracefully about really hard questions." A sweeping work of intellectual seriousness that’s also studded with impish delights, Intuition Pumps offers intrepid thinkers—in all walks of life—delicious opportunities to explore their pet ideas with new powers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Lost Sutras of Jesus: Unlocking the Ancient Wisdom of the Xian Monks, and: The Buddha's Gospel: A Buddhist Interpretation of Jesus' WordsJohn D'Arcy MayThe Lost Sutras of Jesus: Unlocking the Ancient Wisdom of the Xian Monks. Edited by Ray Riegert and Thomas Moore. London: Souvenir Press, 2004. 140 + xi pp.The Buddha's Gospel: A Buddhist Interpretation of Jesus' Words. By Lindsay Falvey. Adelaide: Institute for International Development, (...) 2002. 108 pp.Since Roy C. Amore's Two Masters, One Message (1987) revived the hypothesis of Buddhist influence on Christian origins and Hans-Joachim Klimkeit's research established links between Nestorian Christianity, Gnostic Manichaeism, and Mahayana Buddhism in Central Asia, there is scope for further reflection on commonalities between the two traditions over and above the purely doctrinal and philosophical. The two books under review, though intended for a general readership, are indications that interest in these matters is very much alive.Riegert and Moore preface their selection of texts with the story of Bishop Aleben (A-lo-pen), who travelled the Silk Road from Persia and was received with honour at the imperial capital of Xian (Chang-an) at the beginning of the Tang dynasty (635 CE). The emperor Taizong was sympathetic to what he called the "Luminous Religion," a Nestorian version of Christianity, possibly in Syriac, as presented by Aleben. It seems that these teachings were translated into Chinese in the form of sutras. One of them, preserved in stone as the Monument Sutra, features the cross rising from the lotus, the symbol chosen by Karl Reichelt for Tao-fung Shan, his Christian center in Buddhist style at Sha-tin outside Hong Kong, many centuries later. Thousands of Buddhist texts were preserved in the library cave at Dunhuang monastery, about one thousand miles west of Xian, where they were rediscovered by the Taoist priest Wang Yuanlu, who arrived there in the 1890s and became the self-appointed guardian of the scrolls.Included in this treasure trove were the Jesus Sutras, which are now scattered in museums and private collections, largely inaccessible to the public. But if the selection published here in a very elegant translation is anything to go by, they are [End Page 190] extremely significant religious documents with a spiritual value all their own. For the uninitiated, there is no way of checking the authenticity of these translations. The commentaries that accompany them could be slightly tendentious in that they nudge us in the direction of the editors' particular holistic worldview. But the texts themselves have a beauty and integrity that speaks for itself. They represent a Higher Dharma of perfect purity (p. 86), which, like a mirror, reflects the world with no trace of self: no desire, no action, no virtue, no truth (pp. 80–83, 126–129). The Jesus story is retold, and Jesus is portrayed as the teacher of this Higher Path. The sutras speak of One Spirit who is self-created, One God who is creator of the world, and One Lord, the Messiah who will return. There are prayers, too: "O Loving Father, Enlightened Son, Holy Spirit King"; "Lamb of Love and Bliss"; "O Holy Sage, Universal Lord, Messiah" (pp. 110–113). The texts obviously bear witness to a Buddhist-Christian dialogue much earlier and at a far deeper level than many would have thought possible. Whether they represent the religion of the future, as the editors suggest, remains to be seen.Lindsay Falvey's project of interpreting the canonical texts of Buddhism and Christianity in reference to one another has a similar orientation. In the course of agricultural development work in Thailand he came to realize "that the striking similarity between the two teachers may well be a seamless cloak of congruence beneath the mantle of culture and lore" (p. 13); the texts, in other words, may be quite literally translatable into one another's terms. Though aware that Q, the collection of Jesus' sayings that is supposed to have been available to the synoptic evangelists, is a hypothetical reconstruction, he still feels able to use a version of it as a basis for his experiment. He prefaces this with what he calls "A... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:HUME ON THE 'DISTINCTION OF REASON1* In a 1959 paper, Richard H. Popkin1 propounded what was then taken to be a most extraordinary thesis: Hume may never have read Berkeley. Popkin's paper marks the end of one of the stranger stories in the history of philosophy, the relationship of the British Empiricists — Locke, Berkeley, Hume — to one another. The thesis was hardly news either to Berkeley (...) or Hume scholars because for several decades in careful studies of the historical contexts and sources they had relied less and less on any theory about significant common themes. In this paper I rehearse the arguments against the "partnership" doctrine and then turn to some ways in which Berkeley and Hume differ over abstractionism and the 'distinction of reason'. Finally, I discuss George Davie's suggestion that this 'distinction' may belong to a very different side of Hume's thought. The linking of Locke with Berkeley is not a feature of early commentary on Berkeley. Berkeley was seen by his contemporaries as a product of Pierre Bayle's scepticism or of Malebranche's immaterialism.2 The work of A.A. Luce, and to a lesser extent, of T. E. Jessop, seeks to restore Berkeley to a place in those traditions and to reduce his indebtedness to Locke. The work of Hume scholars from Kemp Smith to Ardal, Davie, Norton, and Popkin all places Hume outside the direct Berkeley line. So far as the traditional epistemological picture was concerned, there was not enough internal evidence to support a Hume-Berkeley connection. The argument took a different turn when a new Hume letter came to light. Hume's letter to Michael Ramsay from Orleans is dated August 31, 1737. I desire of you, if you have Leizure, to read over La Recherche de la Vérité of Pere Malebranche, the Principles of 90 Human Knowledge by Dr Berkeley, some of the more metaphysical Articles of Bailes Dictionary; such as those /...of/ Zeno, & Spinoza. Des-Cartes Meditations wou'd also be useful....5 In 1973, Michael Morrisroe, Jr., surveyed the contributions of Wiener, Popkin, Mossner, Hall, Flew, and Conroy to the debate. Morrisroe takes the several Hume references to Berkeley as internal evidence that Hume read Berkeley. He then prints a new Hume letter to Michael Ramsay, dated "Rheims. Sepfc. 29 1734. N. S." A ten sentence letter, the eighth reads: "It is my Pleasure to read over again today Locke's Essays and the Principles of Human Knowledge by Dr. Berkeley which are printed in their original state and in French copy." Morrisroe explains in a footnote that he was granted permission to make a typescript of the letter, that it was sold at auction, and that its "present location... is unknown." In addition, he thanks six graduate students: "without their attention to bibliogaphical detail this letter might not have been made ready for publication until much later." But the bibliographical detail does not include telling us whether he saw the original or how the Hume authorship was established; nor does it include speculation on what Hume means in that eighth sentence. Did Hume find one book containing Locke and Berkeley in French and in English which he then read in one day? A bilingual Locke plus a bilingual Berkeley? Or can he mean an edition of Locke's Essay in French and an edition of Berkeley's Principles in English? That seems to be the least likely interpretation, unless the reference to Berkeley is a mere parenthetical afterthought, and Hume had his hands on Locke in English and French plus an English edition of Berkeley. Whatever this letter means, we know that Locke's Essay was available in Pierre Coste's translation. Berkeley is another story. The "Principles appeared in 1710. A revised edition, together with the Three Dialogues (also revised) was published in 1734. The first French edition appears to have been in 1889. The Three Dialogues first appeared in 1713 and the first French translation in 1750. The New Theory of Vision, first published in 1709, appeared together with the first edition of Alciphron in 1732. French translations appeared together in 1734. In any case, it can be granted, if only on... (shrink)

Many philosophers maintain that works of art, in particular films and novels, cannot function as thought experiments. Most who claim this make their case by setting the bar for what can count as a philosophical thought experiment very high. It is argued here not that these positions are necessarily mistaken, but that there is a large gray area that is seldom acknowledged between what counts as a philosophical thought experiment narrowly defined and what counts as (...) “being used to illustrate a philosophical point,” where the fiction is imported into an already complete external argument. I contend that these are not the only alternatives available, that intuition pumps and variant case arguments provide better grounds for comparison than has been acknowledged, and that there are uses to which filmic illustrations in particular may be put that make distinctive and cognitive contributions of their own. In the course of making this case, it is stressed both that emotional response has clearly cognitive aspects and that many thought experiments with lower stakes rely on eliciting emotional response. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:REID' S CRITICISM OF HUME'S THEORY OF PERSONAL IDENTITY One of the most interesting philosophical controversies is that between Reid and Hume, considered as representatives of two different sorts of empiricism. Hume, for these purposes, represents 'radical' empiricism, and the attempt to base knowledge solely on experience and what can be validly inferred from it, regardless of how far this leads one from everyday notions and beliefs. Reid, (...) in contrast, represents 'common sense' empiricism, and the view that the. results of experience and deduction must conform to a number of 'first principles or intuitive judgments' (Essays on the intellectual powers of man, VI, 4), which aie unprovable, but which no one can avoid accepting. It is important to be clear about the status of Reid' s 'intuitive judgments', or 'principles of common sense'. They are not merely the general beliefs of a particular culture, which could be 'vulgar errors or preJUdICeS''. Nor are they merely beliefs generally held by people uncorrupted by philosophy. They are assumptions which have to be made if theoretical or practical activity is to be possible at all, principles which are always accepted in practice even by those who deny them in theory. For example, although the uniformity of nature is not a logically necessary truth, everybody always thinks and acts in ways that presuppose that it is true: 'Nature is governed by fixed laws, and if it were not so, there could be no such thing as prudence in human conduct.... the whole fabric of natural philosophy is built upon this principle.' (Essays, VI, 5) Again, everyone, even a theoretical determinist, makes moral judgments and deliberates what to do; and these activities presuppose a belief in human free will. (Essays, ibid.) Hume himself, as Reid was aware, accepted the validity of some principles of this sort, notably of the 42. uniformity of nature. But Reid was dissatisfied with Hume's account, partly because he thought Hume had rejected far too much, and partly because of the grounds Hume gives for accepting, for example, the validity of induction, and the existence of the external physical world. Hume regards these beliefs as non-rational, and deriving from our psychological make-up; it is nature and not reason which causes the belief in an ordered physical reality. In Hume's eyes this is a sufficient justification: if our nature compels us to believe something, this is as good a ground for believing it as any other. Reid, on the other hand, believed, first, that there were many more principles of this sort than Hume had acknowledged, and secondly, that the justification of them was rational, and not merely psychologically determined, since it was based on the impossibility of thinking and acting coherently without them. Hence, even though Hume builds up with one hand what he pulls 'down with the other, and destroys the rational basis for belief only to replace it by one based on human nature and psychology, Reid continues to treat him as the archsceptic. In constructing his list of first principles in Essays, VI, 5, Reid explicitly or implicitly attacks Hume's 'scepticism' on five points - the existence of the mind; the existence of the physical world and the reliability of our senses; the reliability of memory; the reliability of reason; and the uniformity of nature. Against this scepticism he deploys three types of argument. The first is the argument from the universal beliefs of mankind, particular!/ as displayed in the structural features supposedly common to all languages. The second is the argument that the position of the sceptic is, when its consequences are worked out, either self-contradictory or incoherent. And the third is the argument already mentioned, that this position is inconsistent with other beliefs which the sceptic inevitably holds, since he thinks and acts in ways which are 43. inconsistent with their falsity, and cannot avoid doing so. To assess the force of Reid' s attacks, we have to consider both the strength of arguments of this sort in general and whether they apply in all these five cases. In this article, I want to concentrate on the first issue of the five, that of personal identity. Apart from displaying Reid... (shrink)

Gregory Currie is one of the world’s preeminent philosophers of art and a highly-respected philosopher of mind. Imagining and Knowing: the Shape of Fiction is his seventh book, with his conspicuous contributions to the analytic tradition of philosophy including the first systematic philosophical aesthetics in no less than two fields, film (Image and Mind: Film, Philosophy and Cognitive Science, 1995) and narrative (Narratives and Narrators: A Philosophy of Stories, 2010). Currie’s trademark approach is the seamless integration (...) of art criticism and aesthetic theory on the one hand with empirical psychology and evolutionary biology on the other and Imagining and Knowing follows suit. His stated aim is twofold: to make a convincing case for the significance of the imagination to the understanding of and engagement with fiction and to make an equally convincing case against the significance of fiction as a source of knowledge. The monograph consists of an introduction, eleven chapters divided into three parts, and a coda. Part I is concerned with making a case for imagining fiction, defending fiction as an utterance over fiction as a genre (Chapter 1) and the role of the imagination in the engagement with fiction (Chapter 2). This role is fleshed out by means of Currie’s conceptions of ‘desires in imagination, or i-desires’ (Chapter 3) and i-emotions (Chapter 4), which also provide neat solutions to both the paradox of fiction and the imaginative resistance debates (56). Part II sets the scene for the case against fictional knowledge, establishing an epistemic taxonomy (Chapter 5), arguing that claims about the cognitive value of fiction should cohere with the findings of experimental psychology (Chapter 6), and debunking evolutionary claims for the significance of fiction (Chapter 7). Part III presents Currie’s deflationary account, tackling each of what he considers to be the four most convincing arguments for learning from fiction in turn: fictional thought experiments (Chapter 8), truth in literature (Chapter 9), the psychology of authors (Chapter 10), and the relationship between fiction and empathy (Chapter 11). (shrink)

Much of the current philosophy of film literature follows Walter Benjamin’s optimistic account and sees film as a vehicle for screening philosophical thought experiments, and offering new perspectives on issues that have relevance to everyday life. If these kinds of films allow for philosophical thinking, then they are like other so-called ‘high’ artworks in that they encourage social, political and economic critique of social norms. Yet, most popular films that are digested in large quantities are (...) not of a high aesthetic or moral quality. Theorists who conceive of cinema as a means of thinking must firstly reply to the objections that most films simply do not encourage active, intelligent, imaginative participation. Prior to the publication of Deleuze’s cinema books, theorists such as T. W. Adorno feared the advent of the Hollywood Studio film as akin to Nazi propaganda. Dismissed as elitist, their concern was that mass produced and distributed artworks portrayed the depicted social norms as immutable reality. If the imagination cannot enter and engage with the messages depicted through the filmic medium, i.e. through montage or similar ‘shock’ techniques, then viewers cannot critique the moral and social status quo screened; instead, they simply receive it, and it is reinforced. If we consider how passive cinematic viewers are, voyeuristically ensconced in a darkened theatre, we can see the concern here. If only some films allow for critique of social, political and economic norms in society, and these films are attended by those viewers who are already critical viewers, then how is film more generally a tool for thinking? If we are to honestly discuss the filmic medium, we must acknowledge the Hollywood blockbusters that stifle imaginative engagement with their narratives and often depict stereotypes. I argue that we need to read Adorno alongside Benjamin, in order to acknowledge the positive as well as negative attributes of films. In doing this we see the need to focus on the critical attitude of the viewer, as well as the moral messages of the film, particularly when we consider what the majority of consumers willingly ingest uncritically. Adorno and Benjamin both offer a historical account of art whereby their aesthetics require audience reception and are linked to experience. The way art is tied to human experience and the world of sensory perception is through language. Language allows the communication of ideas or referents which convey meaning via signs that contain some kind of ‘truth’ in the form of a cognitive component that must be interpreted. While there are many different stories being told in contemporary culture, the focus on the critical thinker, the interpreter of the narrative, is vital. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE 'NATURALNESS' OF NATURAL RELIGION Among Hume's philosophical works the Dialogues Concerning Natural Religion is unquestionably the easiest to read. One can easily imagine a precocious fifteen-year-old like Miss Jane Austen — who set herself to write her own History of England only a decade or so after Hume's death — coming upon the little volume that nephew David published, reading it with great excitement (and a steadily (...) rising intellectual fury), and recording the same verdict that Pamphilus offers us, but in much more 2 trenchant terms. we can also imagine her reading it again twenty years later, armed with an explanatory commentary like the one that Stanley Tweyman has now given us, and maintaining her position (this time in the more temperate terms of Pamphilus himself). For Miss Jane Austen at thirty-five had one of the most critically commonsensical minds of her time; and she was also a person of deep religious feeling. It is in defence of her feelings, rather than of my own, that this essay is written. For she was close enough to what I take to have been Hume's position to have agreed with it once she had understood it; I, on the other hand, am not. To claim that a meeting of minds between the Rector of Steventon' s daughter and the Scottish apostle of infidelity is even conceivable may seem ridiculous. Hume himself would never have thought it likely. But even if my estimate is unduly optimistic, it serves at least to underline the importance of Tweyman' s constructive commentary. For without Tweyman 's commentary, Jane Austen's reaction to the Dialogues would have been one of morally indignant, and quite categorical rejection at any age. With it to guide her, she would have been appreciative and sympathetic, even if she was still ultimately dissatisfied. (I hope to persuade those who admire them both, as I do, that David Hume and Jane Austen belonged to the same 'invisible Church'). To read the Dialogues is still relatively easy. We only have to know that we are listening to a conversation between educated men in a society where everyone professes (at least) to believe that the world they were born into was created by a God who is all-knowing and all-powerful, infinitely wise, infinitely just and good, and, above all, infinitely loving towards the only creatures in his world who are capable of recognizing what he has done for them. The Rector of Steventon's daughter would have had difficulty in appreciating the discussion properly, because she had some further, more specific, beliefs about God's relations with his beloved children. We have some (smaller) difficulties now, because we are far from believing so much (and many of us believe nothing of the sort at all). But to grasp what we are supposed to believe is not difficult; and once we know that, the conversation itself is easy to follow. Only once does it seem to get out of hand to the point of actual implausibility; and there are only three things about it that are genuinely puzzling. The conversation does not reach any conclusion — at least none that convinces us. We are not convinced because the obvious solution for the most pervasive of our three puzzles is the assumption that Philo, the speaker who appears to state an agreed conclusion, is only pretending. That he should pretend is quite right and proper for a modern philosophical dialogue. Augustine may have written straightforward expository (or 'dogmatic') dialogues; and Berkeley, following in the wake of some of Augustine's medieval imitators, may have managed to raise this form into the best imitation of a live discussion that has been achieved for the dogmatic dialogue in English. But the religious doctrine of these 'dogmatists' was orthodox. One glance at the fortunes of the great Italian dialogue writers — Bruno, Galileo, Campanella — is enough to teach us that it was not prudent to let one's own doctrine win openly when one was teaching against the Church. Jane Austen would certainly have adopted the hypothesis that Philo's professions of religious feeling are hypocritical throughout the discussion. She would have assumed that Cleanthes... (shrink)

Part of the ingenious quality of LEGO is that it is a system of play, fundamentally based on interconnecting sets of parts and open‐endedness. Nowadays, themed and specialized LEGO playsets far outnumber the more free‐form building oriented sets we might see on store shelves. Everything from the themed LEGO Space and LEGO City to extensions of the imaginary franchise universes of Star Wars, Harry Potter, and The Simpsons suggest a kind of play experience where purely imagination‐driven building becomes (...) secondary to the kinds of storytelling and narrative play that LEGO playsets encourage. The different kinds of play—LEGO playset building compared to LEGO video game playing—can be thought of as ludus (more structured, goal‐oriented play) and paidia (exuberant, spontaneous free play). LEGO in many ways serves as a helpful analogy for how philosophical thinking can lead people toward new connections between their thoughts and ideas. LEGO and philosophy invite them to question the nature of play. (shrink)

The history of the philosophy of thought experiments has touched on the work of Kuhn, Popper, Duhem, Mach, Lakatos, and other big names of the 20th century, but so far, almost nothing has been written about Paul Feyerabend. His most influential work was Against Method, 8 chapters of which concern a case study of Galileo with a specific focus on Galileo’s thought experiments. In addition, the later Feyerabend was very interested in what might be called the epistemology of (...) drama, including stories and myths. This paper brings these different aspects of Feyerabend’s work together in an attempt to present what might have been his considered views on scientific thought experiments. I conclude by contrasting Feyerabend’s ideas with two modern currents in the debate surrounding thought experiments: 1) the claim that the epistemology of thought experiments is just the epistemology of deductive or inductive arguments, and 2) the claim that the specifically narrative quality of thought experiments must be taken into account if we want a complete epistemology of thought experiments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Moving Literary Theory OnWendell V. HarrisParadox has long been especially seductive to literary critics and theorists. For the New Critics, the presence of paradox in a text served to vouch for the complexity and therefore value of the perspective on life the text offered. For poststructuralists it seems to be even more important: paradox is the hallmark of earnestness. And if paradox is good, self-contradiction is even better. That (...) at least would seem to be the reasoning that justifies the amount of internal contradiction to be encountered among the critical principles most in vogue these days. Let us note twelve of the most egregious of these contradictions.(1) New Criticism is dead. But the New Critics’ major activity, the pursuit of the author’s intended meaning through close reading, is still very much with us. However much poststructuralists have wished to deny the importance of or possibility of achieving understanding of authorially intended meaning, their own critical commentary necessarily begins with the meaning the author is assumed to have intended. For instance, that which Derrida seeks to deconstruct or undercut in Saussure, Rousseau, Austin, or Searle begins in what he thinks they intended to say. However, the New Critic sought to resolve apparent contradictions on the principle that the interpretation producing the greatest consistency would be nearest the author’s meaning (since the author was assumed to have assumed that the reader would assume that the author intended a non-contradictory statement). In contrast, the poststructuralist typically seeks to find and emphasize or, if necessary, induce contradiction—but only after having assumed that degree of consonance and unity in the text necessary to interpret the intended meaning within which can be sought the contradictions for the [End Page 428] discovery of which the reading was undertaken. The result is thus more often than not a New Critical reading into which contradictions have been injected. One is reminded of the old story of the student in a short story writing class who told his friend that he had the story all written—all he had to do was go back and put in the symbols. The typical poststructuralist begins with a reading much like what one would expect from a New Critic and then begins inducing contradictions.(2) Literature and language cannot really be about anything beyond themselves. At the same time literature and the language on which it is dependent are regarded as largely constituting that which we experience. If language cannot refer to non-linguistic things and events, either it cannot have the power to shape our classifications, descriptions, and evaluations of things and events experienced, or there exists nothing beyond language—in which case we can abolish poverty, racism, and sexism by denying that those words have any meaning. Moreover, if language is about nothing but itself, any formulation that uses language to make statements denying the relationship of language to anything outside itself must be meaningless.(3) All narratives, indeed all statements about the world, are fictional. Yet “fictional” would have no meaning if it did not stand in contrast to those things that are not fictional, while the distinctions made available by the contrast are ones we can hardly do without. There are narratives (1) that both tellers and their hearers/readers know to be not true (“not to be the case” is the evasive formulation popular with philosophers), (2) that tellers and/or hearers/readers think true though they prove not to be, and (3) that tellers think true and are in fact partially, perhaps largely true, but erroneous in some details and necessarily incomplete. These classifications require a modicum of explanation, but to lose one’s way among them would seem to require a wilful pursuit of confusion.Class 1. Oliver Twist is fictional even though there were workhouses, thieves, and such sites as The Angel and Newgate existing at the time at which the narrative is set. Of course, within a fictional narrative, there may be subnarratives the reader is to regard as true within the total fictional narrative and others that are to be regarded as false. To take a light-hearted example, within the narrative of Gilbert and... (shrink)

Modern philosophical analyses of mysticism impoverish mysticism with a common understanding that the life and the language of the mystic is a separate category from that of the mystical experience. It is my contention, however, that such an understanding runs counter to what the mystics themselves attest to. ;William James's understanding of mysticism is that it serves as the means towards the circumvention of an individual's religious tradition. This view is contrary to the understanding of mysticism put forth by (...) the sixth century Christian mystic, Dionysius the Areopagite, who stressed the communal nature of the mystical life. Related to this is the analysis of the mystic's language suggested by W. T. Stace. For Stace, the mystic enters into a peculiar mystical state of consciousness, one that is characterized as inherently paradoxical. Because of this, the mystic is "embarrassed" by the language he or she employs. But in contrast, the 13th century Dominican, Meister Eckhart, employs a deliberate apophatic strategy in his use of the paradox. And finally, Steven T. Katz argues that the mystic's life and language "shapes" the mystical experience. But such a view, again, only separates the life and language of the mystic from that of the experience. St. John of the Cross taught that only through a life of love can one come to know God. This is not a contingent relationship for St. John. ;In contrast to these modern philosophical analyses of mysticism, Ludwig Wittgenstein's philosophical work can be seen to be in concert with much of what the mystics themselves attest to. Wittgenstein urges one to attend to the "grammar" of a language in order to understand its meaning. Therefore, with an examination and application of Wittgenstein's thought, the philosophical impositions cited above can be avoided. Such an approach is thus more promising to the study of mysticism for it pays attention to the life of the mystic in which the mystic's words ultimately have their meaning. (shrink)

The sci-fi premise of the 2002 film Solaris allows director Steven Soderbergh to tell a compelling and distinctly philosophical love story. The “visitors” that appear to the characters in the film present us with a vivid thought experiment, and the film naturally prods us to dwell on the following possibility: If confronted with a duplicate (or near duplicate) of someone you love, what would your response be? What should your response be? The tension raised by (...) such a far-fetched situation reflects a tension that exists in real life: that between an attraction to qualities possessed by a person and attraction to the person in a manner that transcends such an attachment to qualities. In short, this cinematic thought-experiment challenges us to reflect on what we really attach to when we fall in love: is it the person, or is it merely the cluster of characteristics the person manifests? Which sort of attachment is appropriate? Which is philosophical defensible? The protagonist Chris Kelvin’s ambivalence at encountering this bizarre possibility is gripping because it tracks our own ambivalence about such matters. Frankly most of us don’t know just how we would react to such a situation. The thought that accepting and embracing such a “visitor” involves a violation to the original person is natural and pervasive, especially if the acceptance comes with a failure to acknowledge the distinction between the original person and the “visitor”. At the same time, a deep attraction to such a person would surely also be entirely natural and perhaps even inescapable. We, like Kelvin, are torn in different directions by this (thankfully) far-fetched possibility. One philosopher who affirms that accepting a duplicate as though it were the original is the rational thing to do is Derek Parfit. His argument for “the unimportance of identity” is both powerful and radical, and though I’ll be critical of his approach, in the final section of the paper I suggest that it does offer up the resources for an intriguing interpretation of the end of this complex and ambiguous film. (shrink)

The main purpose of this article is to discuss what the Ismāilīs, unlike other Muslims, say about the fall of Adam to earth or the reason why man is on earth. In this study in close relation to the subject the hierarchy of existence and the concepts of hadd/hudûd and tawhid that emerge in this context are principally emphasized, for in Ismāilism the emergence of worlds and all kinds of existence occur according to a certain hierarchy. This hierarchy is also (...) seen as the criterion for determining the divine limits to be obeyed. In this context, a crucial term of hadd or hudûd in its plural form refers to the degrees of all beings, ordered from simple to complex, in their divine station. Parallel to this teaching, the fault Adam committed in eternity is regarded as a kind of crossing the line, for he did not show the required devotion to those who are superior to him. In this context, another important concept dealt with in the article in connection with the subject is tawhid, the Oneness of God, for it should not be forgotten that the Prime Intellect invites the entire Realm of Creation to accept the Oneness of the Creator. The most important rule of responding to this invitation is that creatures in both worlds are to recognize and obey those who are superior to them in order to wake to the principle of tawhid and thus attain perfection. It is emphasized in the article that two forms of explanation, one of which can be considered representative and the other philosophical, come to the fore in Ismāilī classical sources on the subject of Adam's fall to earth. In representative narratives the reason for Adam's being on earth is explained as regaining the position he lost due to the fault he committed in the eternal world. This fault was committed by the spiritual Adam, who represents the whole humanity, not the physical one, and actually symbolizes the defectiveness of Nafs (psyche). The story of Adam's exit from Paradise, which takes place in the Qur’ān, is also interpreted in accordance with this narrative, whereas in more compatible explanations with the philosophy of Neoplatonism, the development of Nafs (psyche) is at the core. Nafs is incomplete because it emerges into the realm of existence after the Intellect. Due to this, the reason orlde creation of the material orld is to make Nafs better with knowledge and wisdom and to ensure its ultimate development. In this case, Nafs realizes itself through Adam, who is its supreme representative on earth. The reason why cosmos initially starts its movement is basically this imperfection of Nafs. Hereby, in both elucidations in the article, it is stated that the emphasis is on the faultiness of nafs. In other words, Nafs or Adam, its earthly form, experiences a loss of station and falls into timely existence due to a deficiency caused by distance from God. For this reason, in order for Nafs to mature or for Adam to regain his original station, the material world must exist and a seven-stage process must be experienced. (shrink)

Publishers love titles that begin How or Why. Better still, How and Why, combining edification with utility. The target group is that overlap between the self-help audience and the idly curious—which is to say, most of us. And since emotions are very much about self-help and self-harm, they offer rich pickings in a burgeoning market. Flanagan's How to Do things with Emotions is a philosopher's take on moral emotions, the allusion to J. L. Austin's How to Do Things with Words (...) chiming with the self-help milieu. Reviewing cases, Flanagan points out that most scientific work in this field derives from experiments on psychology students, about as unrepresentative a slice of humanity as you could find. For Flanagan, they are too WEIRD (Western, Educated, Industrialized, Rich, Democratic) to tell us much about the non-weird majority. To learn to “do emotions better,” he argues, we have to look farther afield. Although the emotional lives of cultural others are surely different from those taking Psychology 101, at some functional level they might be similar. Work out the conceptual logic and practical rationale of culturally elaborated emotions—Minangkabau “shame,” Ifaluk “righteous anger,” American “road rage”—and there is scope for comparison. Indeed, anthropology has shown as much, and it is from anthropology that Flanagan takes his cues. To mention two famous cases, what can we learn about anger management from Utku igloo-dwellers and Ilongot headhunters? Mutually dependent for survival in their snowy isolation, the Utku cannot risk getting angry. (They mercilessly tease their children into learning the futility of anger.) In the jungles of Luzon, Ilongot youths cast away their anger in externally directed violence: headhunting as cathartic sport. We can think of parallels closer to home.Flanagan's vigorously argued book, a tour de force of its kind, is both an anatomizing of anger and shame—two moral emotions we tend to “do badly”—and a proposal to “change how we do these emotions.” Indignation is fine, but anger that is vengeful or “pain-passing,” rather than righteous, is irrational and socially harmful. Shame can be incapacitating and cruel (the undeserved burn of a Twitter pile-on). What we need is reflective anger directed at injustice and a “mature sense of shame” that reminds us of the social contract and stops us misbehaving.In its How-and-Why format, the book combines theory and practice, metaethics with moralism. Here is how a prof should do self-help. But if the diagnosis is well made, the remedy is hard to imagine. As Flanagan recognizes, moral sentiments and practices are embedded in intricate forms of life and not readily detachable. Anger Utku-style is not a transferable skill, nor are educative routines forged in social ecologies remote from our own. Lacking serviceable models, Flanagan falls back on the anthropological justification that knowledge of cultural diversity expands our sense of human possibility, of other roads taken. In a globalizing world, difference is its own reward. For me, an anthropologist, that maxim is enough. Yet difference bedevils comparison, jinxing the units, warping criteria. Most languages lack a word for emotion or an equivalent umbrella concept; nor do emotion words translate well across languages. Emotion may be an incoherent notion, or at best a heuristic.Flanagan's use of the WEIRD tag makes things a bit too easy. Does it cover farmhands and factory workers? Are we so democratic, anyway? More damagingly, a typological approach blurs the circumstances of family, community, and biography that define an emotional episode and shape its phenomenology, the way it is felt and experienced—what a violent outburst or fearful exit means in the context of a life. Take Joseph Conrad's Lord Jim, who flees a scene of failure and derails his life. It requires a long narrative to unravel the implications of his jumping ship and the paralyzing shame he experiences before the judgment of society. Or consider the scene in Anna Karenina in which the dignified and self-important Karenin, apprised of Anna's adulterous liaison, agonizes over the threat to his existence. To call his response jealousy would not scratch the surface. Characteristically for Tolstoy, the emotions go unnamed. Instead, we witness Karenin's fervid deliberations (emotions involve thoughts), vacillations (emotions have action tendencies), anguished calculations of impending scandal (emotions are appraisals), and bodily changes (emotions are cognized feelings). We shudder at the brutal metaphors through which he grasps his predicament and its cure: like rooting out a bad tooth, he decides. That welter of particularities escapes the theorist who needs clear-cut, comparable units, formulaic instances of jealousy or anger. But what are you left with if you omit the details? What would remain of Karenin's existential crisis?The novelist's privileged access to subjectivity is, of course, unavailable to the scientist, but the larger context of plot and character—a history of relations that gives emotional episodes their shape and power—has its analog in the ethnographic domain. Emotions are public as well as private events, their meanings and effects depending on a fit with social reality, a clash of perspectives. In thought and feeling, we are never really alone. All of which suggests that narrative, fictional or nonfictional, can capture the ongoing moment in a way that eludes other methods. If what we are after is living emotion, it is the movie, not the snapshot, that surely matters. No point in comparing “emotions” no one ever really experienced outside of an experiment.But there's the rub. In generalization—the goal of emotion theory—an emotion's social meaning, personal significance, pragmatic function, and narrative context get stripped out. All that makes it what it is! Even in doggedly empirical anthropology, detailed emotional episodes are rare (Jean Briggs's Utku ethnography Never in Anger, published in 1970, is still unsurpassed). Instead we get recollections and summary examples, lacking the constitutive detail, real-time evolutions, and consequences of the real thing. Yet these must serve for comparison, fodder for countless theoretical speculations. Are we at risk of analyzing faux emotions and building theories on cardboard constructions?An empty Arctic stage, a handful of characters, life simplified to survival: Briggs is a hard act to follow. Bare life does not make for basic emotions. On the white set, emotions prove hard to parse. That gruff hesitation, that flashing glint—are they tokens of anger? Empathy will not suffice. As Briggs shows, narrative context is all. And in our more cluttered emotional worlds, the value of backstory, interwoven biographies, and emotional plots is all the greater. Flanagan is right; we must do emotions better. (shrink)

Antonio Gramsci was not a professional philosopher, but a political educator. Using a label of his own, we might perhaps say that he was an “integral journalist.” But when he was confined to prison, he was obliged to write “journals” for himself; and he had the enforced leisure to meditate upon the historical and conceptual context of his own active life. So he became, in a critical and fragmentary way, a philosopher malgre lui—and it is my impression that he was (...) a very good one. (shrink)

Philosophers who have a conception of morality that allows for an ultimate conflict between duty and self-interest inherit a most difficult problem: the problem of the unity of practical reason. As long as duty is thought of as an extension of self-interest, as apparently both Plato and Hobbes thought, no theoretical difficulty arises; practical reason is unified simply because duty and interest have the same goal. But once this kind of conceptual connection between duty and self-interest is severed, (...) the task is to avoid the philosophical nemesis of dualism, a conception of practical reason in which an individual’s choice between doing his duty and securing his interests is necessarily arbitrary as a matter of practical justification. Moreover, the difficulty is compounded when morality is conceived in such a way that a person has a morality only if his moral concerns have justificatory priority among his practical concerns. When built into the concept of morality, this sort of justificatory priority might initially appear to restore the unity lost by practical reason with the severance of duty and interest. But so achieved, the unity bears all the marks of having been gained arbitrarily, for it can just as plausibly be said that a person is an egoist only if his own interests take justificatory priority among his practical concerns. Faced then with a decision about what he ought to do in a situation in which duty and interest are in conflict, the practical reasoner confronts a dilemma. In trying to decide what he ought to do, practical reason, in the form of morality, advises him to do one thing, yet in the form of self-interest, it advises him to do another. Therefore, like Humpty Dumpty, once practical reason is shattered by the separation of duty and interest, the practical reasoner’s problem is how to put things back together again. (shrink)

This article concerns the way in which philosophers study the epistemology of scientific thought experiments. Starting with a general overview of the main contemporary philosophical accounts, we will first argue that two implicit assumptions are present therein: first, that the epistemology of scientific thought experiments is solely concerned with factual knowledge of the world; and second, that philosophers should account for this in terms of the way in which individuals in general contemplate these thought experiments in (...) thought. Our goal is to evaluate these assumptions and their implications using a particular case study: Albert Einstein's magnet-conductor thought experiment. We will argue that an analysis of this thought experiment based on these assumptions – as John Norton (1991) provides – is, in a sense, both misguided (the thought experiment by itself did not lead Einstein to factual knowledge of the world) and too narrow (to understand the thought experiment's epistemology, its historical context should also be taken into account explicitly). Based on this evaluation we propose an alternative philosophical approach to the epistemology of scientific thought experiments which is more encompassing while preserving what is of value in the dominant view. (shrink)

Thought experiments are employed for a number of reasons and in many different disciplines. This paper explores the work of Novalis in relation to the method of thought experiments in theology, with a special focus on the encounter between Christianity and the science of his day. In a first step I revisit the ongoing philosophical discussion on thought experiments in order to highlight the lack of interest in the literary features of thought experiments. Step two (...) is dedicated to a discussion of the work of Novalis as far as his metaphysics of phantasy and imagination is concerned as it plays out in his romantic poetry. Building on the results of this discussion, in a third step I discuss the relationship (a) between thought experiments in theology and other disciplines, (b) between current discussions of thought experiments and previous periods of philosophical investigation into the ‘laboratory of the mind’, (c) between Christianity and science, and (d) between literary fiction and cognition. (shrink)

Cushman's rationalization account can be extended to cover another part of his portrayal of representational exchange: thought experiments that lead to conclusions about the self. While Cushman's argument is compelling, a full account of rationalization as adaptive will need to account for the divergence in rationalizing one's actions compared to the actions of others.

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam:Brother Wayne TeasdaleJennifer HarrisOn 20 October 2004, Wayne Teasdale died at age 59. After his second battle with cancer, he passed on, leaving numerous friends, loved ones, and students. Wayne was a world-renowned spiritual teacher and scholar who worked tirelessly to create dialogue and understanding among the world's religions. Wayne was the leading voice in the Christian contemplative movement.In particular, Wayne Teasdale met often with His Holiness the (...) Dalai Lama to discuss their faiths. In his own words, "I am convinced that Christianity and Buddhism together have a unique opportunity and responsibility to enter into a sustained dialogue on all matters.... If the two traditions work together on resolving the critical issues facing the planet, and if they commit themselves to an open-ended dialogue process in which mutual influence on each other occurs in the areas of belief or view, prayer, and social engagement, they will make an enormously precious contribution towards the communication of a new consciousness all around the world."For more than ten years, Brother Wayne Teasdale studied, prayed, and meditated in the seclusion of Hundred Acres Monastery in New Hampshire. In 1986, Father Bede Griffiths, an English Benedictine monk living in India, invited Wayne to his ashram to take sannyasa (Indian monkhood) from him as a Christian. Sannyasa formally means to renounce the world. This event began Wayne's work as an interreligious monk and mystic. Through his writings, Wayne has helped thousands of individuals to understand their own true paths and explored the idea of renunciation and spirituality in daily life.Wayne Teasdale served on the board of trustees of the Parliament of the World's Religions and was the coordinator of the Bede Griffiths International Trust. Wayne dedicated himself to helping people discover their true spiritual nature and was a passionate activist who worked throughout his life to create dialogue and mutual understanding among the world's religions. He is the author of many seminal books, most notably The Mystic Heart: Discovering a Universal Spirituality in the World's Religions and A Monk in the World: Cultivating a Spiritual Life. His other books include Catholicism in Dialogue: Conversations Across Traditions; Come and Sit: A Week Inside Meditation Centers; Hermitage of the Heart: Contemplative Practices from Hundred Acres Monastery; Community of Religions: Voices and Images of the Parliament of the World's Religions; Essays in Mysticism; Yoga of Sound: Healing and Enlightenment through the Sacred Practice of Mantra (with Russill Paul); Bede Griffiths: An Introduction to His Interspiritual Thought (with Bede Griffiths); Awakening the Spirit, Inspiring the Soul: 30 Stories of Interspiritual Discovery in the Community of Faiths (with Martha Howard, MD), and Mystic Hours: A Daybook of Inspirational Wisdom and Devotion. [End Page 163]Wayne was the leader of the Interfaith Call for Freedom of Worship and Human Rights in Tibet. He was a member of the Monastic Interreligous Dialogue and helped draft their Universal Declaration on Nonviolence. He was an adjunct professor at DePaul University, Columbia College, and the Catholic Theological Union, and lectured throughout the world.In his life and teachings, Wayne always promoted the concepts of community, service, and faith. He said, "We now know that each one of us inhabits, rather than possesses, what can be called local awareness. It makes our life tangible by filtering it through parameters of knowing and being that allow for this local type of consciousness, this knowing person here and now who is self-aware. When someone has a mystical experience, he or she is propelled into a cosmic kind of perception. The enlightened are those who have broken out of their local and regional, or individual and species awareness and have discovered other realms of consciousness beyond this sphere."Jennifer HarrisFriends of Drepung Gomang MonasteryCopyright © 2005 The University of Hawai'i Press... (shrink)

Thought experiments are one among the oldest and effectively employed tools of scientific reasoning. Hacking (Philos Sci 2:302–308, 1992) argues that thought experiments in contrast to real experiments do not have a life of their own. In this paper, I attempt to show that contrary to Hacking’s contentions, thought experiments do have a life of their own. The paper is divided into three main sections. In the first section, I review the reasons that Hacking sets out for (...) believing in the life of experiments. Second section discusses Hacking’s characterization of thought experiments. The section also reviews his arguments for denying a life to thought experiments. In the third section, I argue for a life of thought experiments. In this section, I discuss the historical evolution of the EPR thought experiment and Galileo’s Free Falling Bodies in detail to show the untenability of Hacking’s arguments. The third section is followed by a conclusion that thought experiments do have a life of their own. (shrink)

Philosopher Merab Mamardashvili had multiple connections to the Soviet film industry, including the years he spent lecturing to cinema students in Moscow, and yet his work in this area has thus far been neglected by scholars of philosophy and cinema alike. In this article, I consider Mamardashvili’s most sustained remarks on film, including his use of the metaphor of the movie theatre and his commentary in The Aesthetics of Thinking on Vadim Abdrashitov and Aleksandr Mindadze’s The Train Stopped. (...) Mamardashvili used film as a metaphor for consciousness and described how film constructs an extended, empirical and psychological reality, a new space and time originating in itself, and which, if only for a couple hours, offers the experience of a “different regime of life than the one to which we are accustomed”. (shrink)

This article attempts, for the first time, to link some central motives in the thought of Jürgen Habermas with the biographical experiences of the philosopher and social theorist. What are the relations which Habermas himself thematizes in his life story by means of discursive analysis? Three elements are central: the change in significance of the nation state against the backdrop of the process of European integration, the concept of a deliberative democracy, and the timely and controversial issue of the (...) taming of world capitalism. Finally, the article discusses the question of how plausible it is that there is no alternative to capitalism and to what extent democracy can tame capitalism. (shrink)

Thought experiments by ancient philosophers are often open to debate: in what sense did their reasoning really concern thought experimentation? For instance, in Plato's Republic, Glaucon uses the myth of Gyges to demonstrate why people who practice justice do so unwillingly. A challenge, posed to Socrates and provided through some sort of thought experiment by imagining the effects of using the ring of invisibility, was intended to answer the question of human nature and our basis for (...) the inclination towards justice or injustice. This collection expands the current, but rare, topic of whether it is possible to articulate a discussion about thought experiments and their arguments from the historical perspective of philosophy and science. It may sometimes seem that, in a loose sense, any philosophical reflection can already be interpreted as some form of thought experiment. Although the functions of it are very diverse and complex, and often closely linked to other cognitive tools, such as visualization, imagination or idealization, the contributions in this book provide new insights into how the concept of a thought experiment coincides with more modern perceptions. The purpose of the book is to show how philosophers, already in antiquity, began to use thought experiments and argumentation to convey theories in an accessible manner and how philosophical hypotheses, often being subjective and impossible to prove through empirical evidence, helped to promote scientific knowledge and discoveries. Different authors develop several lines of argumentation, claiming that philosophical thinking can be understood by comparing it to scientific experimenting, or vice versa: if empirical evidence is usually necessary for science, thought experiments may be used to develop a hypothesis or to prepare for experimentation. The analysis of historical examples of thought experiments might also contribute to a better understanding of philosophical endeavour in antiquity as a whole. (shrink)

In Nietzsche the autobiographical theme of disease has at its core the philosophical problem of pain. While he reflects daily on the actual condition of the ill person, Nietzsche oscillates the man like a pendulum. He defines him as ‘the most melancholic and most happy animal who suffers so profoundly that he must invent laughter’, as ‘the ill animal’ but also ‘the most courageous and most used to pain’. Nietzsche seems to be entertained no end by playing around with (...) these definitions, almost as if he is making fun of Aristotle. It is in fact these two later quotations from the Genealogy that go on to construct the tracks on which his reflections on badness and suffering will move, marking out the area in which the decisive ‘match’ of the health of humanity is discussed. The first displays a Nietzsche who is always tranchant and blazing in its ability to conjure up the humanity of humans in few words. The highlight of the determinate article is original and shows that man is a unique animal who can define himself as being ill. The second suggests the image of a human being who tolerates pain with courage, arriving, just thanks to this journey of pain, to embark on a voyage leading to internal transformation. Nietzsche’s lifelong illness was what prompted him to develop the philosophical problem of pain and its relationship with thought. Taking advantage of his condition as a constant sufferer, Nietzsche strived to understand which directions human thought is able to take whenever it is ‘subjected to the pressure of evil’. The first is a hypocritical direction, represented by man’s attempts to remove pain from his life. Nietzsche denounces all justifications made for the purpose of providing at all costs a meaning for suffering, and which converge with the modern welfare society that dares to fashion mankind ‘without evil’. The other direction, however, is that of those who are not afraid to listen to suffering. Reflecting on his own personal situation, Nietzsche outlines the traits of human beings who reach out towards the mystery of existence and, shaken by the experience of pain, come to abandon their certainties and adopt a more critical view of themselves. ‘Every man is a medical history’, recites a posthumous fragment. Certainly, Nietzsche himself is the first to notice ‘his own story is the story of an illness and also of a healing’ – and this is not only true for him but for everyone who experiences suffering up close. This experience of pain – so intimate that it seems difficult to express in words – does not cause one to be locked up inside of oneself but rather serves to introduce a discussion on one’s subjectivity and as an occasion for a moral adventure into the profundities of one’s existence. (shrink)

In 1969 Harry Frankfurt published his hugely influential paper 'Alternate Possibilities and Moral Responsibility' in which he claimed to present a counterexample to the so-called 'Principle of Alternate Possibilities' ('a person is morally responsible for what he has done only if he could have done otherwise'). The success of Frankfurt-style cases as counterexamples to the Principle has been much debated since. I present an objection to these cases that, in questioning their conceptual cogency, undercuts many of those debates. Such (...) cases all require a counterfactual mechanism that could cause an agent to perform an action that he cannot avoid performing. I argue that, given our concept of what it is for someone to act, this requirement is inconsistent. Frankfurt-style alleged counterexamples are cases where an agent is morally responsible for an action he performs even though, the claim goes, he could not have avoided performing that action. However, it has recently been argued, e.g. by John Fischer, that a counterexample to the Principle could be a 'Fischer-style case', i.e. a case where the agent can either perform the action or do nothing else. I argue that, although Fischer-style cases do not share the conceptual flaw common to all Frankfurt-style cases, they also fail as counterexamples to the Principle. The paper finishes with a brief discussion of the significance of the Principle of Alternate Possibilities. (shrink)

I argue that Plato’s use of thought experiments anticipate many of the themes discussed by Thomas S. Kuhn’s classic essay, “A Function for Thought Experiments.” Kuhn’s concern is that thought experiments satisfy the condition of verisimilitude. That is, thought experiments must not be conducted merely to alter the conceptual apparatus of the scientist regarding the phenomenon explored, but rather to alter the scientist’s conceptual apparatus for the sake of altering his actions (i.e., practical rationality). Plato, too, (...) is quite concerned with getting interlocutors to appreciate that theory not be separated from practice, and that theory is necessary for the process of effective decision making. Each of the interlocutors presented in the Republic, Apology and Alcibiades Minor are confrontedwith a thought experiment that is designed to effect how they choose to live. Although the three dialogues I discuss illustrate the Kuhnian admonishment against separating theory form practice, many other dialogues in the Platonic corpus echo Kuhn’s concerns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bergsonism and the History of Analytic Philosophy by Andreas VrahimisLeonard LawlorAndreas Vrahimis. Bergsonism and the History of Analytic Philosophy. History of Analytic Philosophy. Cham: Palgrave Macmillan, 2022. Pp. xix + 395. Hardback, $139.99.Bergsonism and the History of Analytic Philosophy is a great achievement in the history of ideas in general. The wealth of historical details that Andreas Vrahimis musters indicates that he has a profound understanding of twentieth-century (...) philosophy. More importantly, this book overflows with philosophical insights. The wealth of insights indicates that Bergsonism and the History of Analytic Philosophy is also a great achievement in philosophy as such. Andreas Vrahimis has written a remarkable book.Bergsonism and the History of Analytic Philosophy presents the origins of the division between analytic philosophy and continental philosophy. This story is familiar, with analytic philosophy siding with science and continental with poetry; with analytic philosophy being a kind of rationalism and continental a kind of irrationalism; with analytic philosophy using a writing style of dry, logical argumentation and continental using a writing style of images and emotions; and finally, with analytic philosophy writing only of what can be expressed and continental writing of the ineffable. Yet, Bergsonism and the History of Analytic Philosophy tells a story that is unfamiliar and even novel. The genealogy Vrahimis lays out is not of the rift between analytic philosophy and phenomenology (although this rift appears in the book's final chapters) but between analytic philosophy and Bergson. As Vrahimis clearly shows, the popularity of Bergson's thought at the beginning of the twentieth century caused the split, and even the hostility, between analytic and continental [End Page 332] philosophy. Therefore, Vrahimis does not title his book Bergson and the History of Analytic Philosophy, but Bergsonism and the History of Analytic Philosophy (2). Bergsonism is the popular view of Bergson's thought. It turned Bergson's thought into a "fad" (263). But Bergsonism contained many misunderstandings of Bergson. In the early twentieth century, Bergson was, in short, "a misunderstood celebrity." Unfortunately for Bergson's legacy, Bergson himself allowed Bergsonism to flourish as a cultural movement. Until The Creative Mind (published in 1934 in France as La pensée et le mouvant, after "the demise of Bergsonism"), Bergson never attempted to correct the misinterpretations of his thought that Bergsonism presented. Chapter by chapter, Vrahimis shows how the analytic philosophy criticisms leveled against Bergson are based in Bergsonism's distortions of Bergson's thought. The founding members of analytic philosophy aimed their attacks at a strawman Bergson.Bergsonism and the History of Analytic Philosophy's first three chapters set the stage for the analytic philosophers' attacks on Bergson. In fact, chapter 3 contains one of the clearest summaries of Bergson's thought I have ever read. Then, the book is arranged chronologically, starting with William James's 1905 "The Experience of Activity" in chapter 4 and ending with Ryle's 1958 "Phenomenology versus The Concept of Mind" in chapter 12. William James is not one of Bergson's critics. Chapter 4 shows how James praised Bergson's thought because of its similarity with pragmatism. This praise popularized Bergson's thought and thus led to Bergsonism. Chapters 4 through 12 (there is also a chapter 13 that serves as the book's conclusion) concern specific philosophers' criticisms of Bergson and then, in the final chapters, specific philosophers' criticisms of Lebensphilosophie and continental philosophy. There are chapters on Russell, Karin Costelloe-Stephen, L. Susan Stebbing, Neurath and the Vienna Circle (against Lebensphilosophie), Schlick (against Bergson as the originator of Lebensphilosophie), Carnap and Ayer (against Heidegger and Sartre), and Ryle (against Husserl). Most of the chapters concern the criticisms that resulted from Bergson's valorization of intuition as a source of knowledge. Bergson's definitions of intuition contribute to the belief that he is antiscience and an anti-intellectualist. Because intuition is introspection, it even suggests that Bergson's own philosophy is a kind of individualism. Because intuition is inexpressible, it also raises the problem that Bergson's own intuition of time as duration cannot be verified; rather, it can be challenged only by someone else's own intuition. Chapter 11 then shows how Heideggerian Angst challenges... (shrink)

Alyssa DeBlasio’s book The Filmmaker's philosopher - Merab Mamardashvili and Russian cinema presents Merab Mamardashvili’s philosophy seen through the eyes of film directors who were directly or indirectly influenced by his lectures. With a detailed analysis of eight films, the book brings together a generation of filmmakers who translated Mamardashvili’s message into cinematic language, performing an experiment through which we might see an alternative mode of thought at work. By showing how Mamardashvili’s considerations of metaphysical, epistemological and moral (...) nature shine through in the films described, DeBlasio touches upon one of the pillars of Mamardashvili’s thought: art is, together with philosophy, a privileged language for recording each own’s experience of the field of consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Evaluation, Standards, Normalization: Historico-philosophical Formations and the Conditions of Possibility for Checklist Thought Bernadette Baker University of Wisconsin-Madison In education today a new vocabulary has emerged that is far more than just words. In the context of educational policy the setting of goals or objectives is now being subsumed under terms such as statewidestandards, child development is now being adjectivized by descriptors such as learning disability or (...) emotionally disturbed, and the evaluation ofclassroom-based performance is now being collated in aportfolio. These are more than just buzz words-at one level they are new ways of governing children and teachers, of organizing action, and of perceiving the world. What, for instance, does it tell us about ourselves when first-grade students Mikey, Enrique, Waldo, orDonal are introduced to visitors to the school by labels such as LD, ED, ADD, ADHD, and so forth, rather thanby their name? What does it tell us about ourselves when we say a curriculum or program of study is in line with the standards established somewhere else? And what story do we think is being narratedin the documentation of a child's performance in portfolio form across a semester or year? In consideringwhyterms suchasstandards, child development, or even evaluation have such contemporary currency I am necessarily drawn into a study of the timespaces in which they did not have such currency at all. This paper maps four moves into a moment that I think of as a rather long present-day-a present that is not simply this morning, yesterday, or the daybefore, but one that links the subjectivities ofthose now living in educational workto those made available about one hundred years ago. The four moves that I analyze here can be thought of as conditions of possibility for the operation of contemporary educational mies of reasoning, especially those that have formed around the resurgent popularity of"checklist thought" in reform efforts. The four moves collectively historicize how notions of standards, child development, and evaluation can pop up as commonsensical tropes through which to gather and degather action in the educational field. The first ofthese moves is that which flows from the operation ofan ideal to the operation of a norm. The second move is that which flows between the advent of statistics and the advent of eugenics. The third move is that which flows between the appearance ofnovels and fiction and the novel ficticityoffacts. And the fourth move is that which flows from the fictions of child development narratives to the stories that standards tell us. Collectively, these historico-philosophical moves will enable reconsideration of what we think evaluation, standards, and norms for child development actually narrate, lending food for thought to the specificityoftheir uptake in music education. From Ideal to Norm One way inwhichto examinethe shift from a seventeenth-century concept of the ideal to the nineteenth-century concept of the norm is by telling a story that was told in the early twentieth century. At this time when the educational field was formalizing, there was great care taken to record discussions held at conferences. When conferenceproceedings werepublished, theywere usually structured so that the presenter's paper©Philosophy ofMusic Education ReviewlO, no. 1 (Fall, 2002): 92-101. Bernadette Baker 93 was followed by a transcript of the conversation held after it. Like today, in the discussion time, audience members asked questions or made comments. Unlike today, the names of such participating audience members were typed into the proceedings and their specific questions or comments were written up as part ofreporting on the paper presented. In a discussion held at a conference in 1 905 on the topic of methods for training children labeledas feebleminded, apresenterhadspokenof the positive uses of a vegetable garden in the disciplining of feebleminded girls. The audience members relayed their own versions of experimenting with gardening and gathering, some complaining oftoo little space and others indicating the effects of having too many fields from which to gather. Dr. Dunlap was one such participant, indicatingimplicitlytheeffectsofhavingtoo many choices. In the spirit ofthe hunter/gatherer dichotomy, thegirlslabeledas feeblemindedatthe institutionwhereDr. Dunlap worked weresentout to pick com. The following story emerged. Dr. Dunlap: Our girls go out under an attendant and gather vegetables... (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Reviews PASSION AND PARADOX L G Religious Studies / McMaster U. Hamilton, , Canada   @. Joan Cocks. Passion and Paradox: Intellectuals Confront the National Question. Princeton and Oxford: Princeton U. P., . Pp. . .; pb .. ccording to an ancient legend, four Rabbis ventured into the garden of Aphilosophy. One, it is said, went insane, another became a heretic, a third died and only the (...) fourth emerged unscathed. A modern variation of this story might go like this. Four or perhaps  philosophers entered the jungle of nationalism and for the most part went insane. There were those who embraced nationalism and consequently abandoned the universality of philosophy for the promotion of xenophobia, racism and even Nazism. Others remained internationalist and hence became futile—philosophical Canutes—commanding the raging beasts of nationality to be still. No one struggled harder with nationalism than Bertrand Russell. In , writing as an internationalist, he announced the demise of the principle of nationality only to see nationalisms explode in every region of the world (see his “National Independence and Internationalism”, Papers ). He opposed it relentlessly and without compromise until near the end of his life when he found himself endorsing wars of national liberation. Nationalism is often depicted as a howling beast. It would be better to think of it as an anaconda that wraps itself around everyone who ventures into its domain. Joan Cocks’ Passion and Paradox is an important book on nationalism and the intelligentsia. She traces the intellectual encounter with nationalism of a number of figures—Karl Marx, Rosa Luxemburg, Isaiah Berlin and the Scottish nationalist Tom Nairn, among others. All are exiles, most are Jews, and all try to hack their way through a jungle of conundrums of nationalist thought. Her accounts of these thinkers sometimes read like complex legal briefs, but are always illuminating. Though an internationalist, she sees the power of nationalist imperatives. Her approach to the contradictory strains of nationalism and hostility to nationalism echoes that of Hegel. She presents critical but sympathetic accounts of each side of the nationalist problematic and shows how their difficulties might be resolved in a higher synthesis. Alas! her resolution suffers from the unworldliness that she finds in other versions of internationalism. Her argument begins with a personal experience. In the early ’s she joined a group of Arabs and Jews against the Gulf War. In the course of their associ- Reviews  ation she learned that the Jews were all internationalists, while the Arabs were outspoken nationalists. This experience presumably demonstrated that a happy collusion of nationalism and internationalism was possible. But, of course, there was another side: those prosecuting the war she opposed were also nationalists. Her central thesis addresses the tragedy of opposition. It states that nationalism is “dilemmatic”, that is, that “all paths of thought obscured equally telling contrary thoughts; all courses of action were strewn with causes for regret and remorse” (p. ). The horns of the dilemma are the valid claims of the internationalist who sees the underlying self-destructive deep structures of nationalism on one side, and the claims of the national particularistic who is engaged in the compelling theatre of national liberation and the protection of local customs and roots on the other. Her book is an account of how her thinkers are framed by this dilemma, locked in by the imperatives of either side. In the period between the Gulf War and the composition of this book in  Cocks was able to observe what she identifies as the destructive logic of nationalism. The ’s were a period of postmodernist celebration of the local, a sensibility that helped to legitimate nationalism. The explosion of nationalism that followed the breakup of the Communist imperium was a time of liberation of the imprisoned nations—a springtime when it was good to be alive. But as the decade wore on the concealed pit bulls came out—in Yugoslavia, in Rwanda and elsewhere. In Cocks’ view nationalism showed an inner logic, of a sort that Russell called attention to in the early ’s—a logic that led from euphoria to self-destruction (see his Prospects). Her aim is to revive the half-remembered internationalist tradition as formulated by Marx and Luxemburg—but also to show... (shrink)

The article is a detailed review of the books by Maria daVenza Tillmanns “Why We Are in Need of Tales” (Toronto, Iguana Books, 2020—2021). The books appeared as a result of the author’s many years’ experience in conducting philosophy classes with children (elementary school level). The books are written in the form of a dialogue, which creates the effect of the reader’s presence in the fairy tales plots, stimulating reflection on their philosophical content. The author of the article examines (...) the plots from the standpoint of some key ideas of the world philosophical thought. (shrink)

This collection of thirteen essays, when viewed together, offers a unique perspective on the history of American philosophy. It illuminates for the first time in book form, how thirteen major American philosophical thinkers viewed a problem of special interest in the American philosophical tradition: the relationship between experience and reflection. Written by well-known authorities on the figure about which he or she writes, the essays are arranged chronologically to highlight the changes and developments in thought from Puritanism (...) to Pragmatism to Process Philosophy. While Doctrine and Experience will be of particular interest to specialists in American Philosophy, there is also much to offer anyone interested in the intellectual and cultural history of the United States. In order of appearance, the essays are: "Jonathan Edwards and the Great Awakening" by John E. Smith "Heart and Head: The Mind of Thomas Jefferson" by Andrew J. Reck"Emerson and the American Future" by Robert C. Pollock"Chauncey Wright and the Pragmatists" by Edward Madden"Charles S. Peirce: Action Through Thought – The Ethics of Experience" by Vincent G. Potter"Life Is in the Transitions’: Radical Empiricism and Contemporary Concerns" by John J. McDermott"John Dewey and the Metaphysics of American Democracy" by Ralph W. Sleeper"Individualization and Unification in Sartre and Dewey" by Thelma Z. Levine"Josiah Royce: Anticipator of European Existentialism and Phenomenology" by Jacqueline Ann K. Kegley"The Transcendence of Materialism and Idealism in American Thought" by John Lachs"C. I. Lewis and the Pragmatic Tradition in American Philosophy" by Sandra Rosenthal"The Social Philosophy of George Herbert Mead" by David Miller"Existence as Transaction: A Whiteheadian Study of Causality" by Elizabeth Kraus. (shrink)

Untangle the complex web of philosophical dilemmas of Spidey and his world—in time for the release of The Amazing Spider-Man movie Since Stan Lee and Marvel introduced Spider-Man in Amazing Fantasy #15 in 1962, everyone’s favorite webslinger has had a long career in comics, graphic novels, cartoons, movies, and even on Broadway. In this book some of history’s most powerful philosophers help us explore the enduring questions and issues surrounding this beloved superhero: Is Peter Parker to blame for the (...) death of his uncle? Does great power really bring great responsibility? Can Spidey champion justice and be with Mary Jane at the same time? Finding your way through this web of inquiry, you’ll discover answers to these and many other thought-provoking questions. Gives you a fresh perspective and insights on Peter Parker and Spider-Man’s story lines and ideas Examines important philosophical issues and questions, such as: What is it to live a good life? Do our particular talents come with obligations? What role should friendship play in life? Is there any meaning to life? Views Spider-Man through the lens of some of history’s most influential thinkers, from Aristotle, Thomas Aquinas, and Immanuel Kant to Nietszche, William James, Ayn Rand, and Alasdair MacIntyre. (shrink)

Readers familiar with the luminous scholarly contributions of Harry Austryn Wolfson will welcome this rich collection of essays that have been previously published in widely dispersed journals and books, The articles range over Aristotle and Plato; Philo; the Church Fathers; and Arabic, Jewish, and Christian philosophers of the Middle Ages: Averroes and Avicenna, Maimonides, and Thomas Aquinas. The twenty-eight pieces are arranged in such a manner that ideas develop and are pursued from one article to the next, forming a (...) coherent whole. According to the editors, "This volume reflects the most basic biographical fact about Wolfson: his life has been one of unflagging commitment, uninterrupted creativity, and truly remarkable achievement...Wolfson's scholarship will be viewed with awe and admiration and his impact will be durable. He has added new dimensions to philosophical scholarship and illuminated wide areas of religious thought, plotting the terrain, blazing trails, and erecting guideposts for scores of younger scholars.". (shrink)