‘Generally speaking, the errors in religion are dangerous; those in philosophy only ridiculous.’—Hume, Treatise , I, iv, 7. Several years have elapsed since Professor Malcolm's astonishing revival of St Anselm's ontological argument . The first shock-wave of criticism has likewise passed, having been absorbed by now into the bound volumes of the periodical literature. This note is not intended to add much weight to the common conclusion of that impressive body of criticism, for, though interesting and important logical issues remain (...) to be discussed in connection with the ontological argument, there can be little doubt that it fails as a demonstration of God's existence. Nevertheless, there is one move made by Malcolm in his determined defence of Anselm which may have had unfortunate repercussions far beyond the reaches of philosophical theology. Perhaps a discussion of this one step in the argument will help to dispel some erroneous impressions. (shrink)

The reappearance of Professor Alasdair MacIntyre's far-ranging and provocative article, ‘Hume on “is” and “ought”’, is the proximate cause of this short excursion to an old, well-scarred, and still fascinating battleground. Re-reading MacIntyre's brilliant offensive thrust led me to review the counter-attacks and diversionary movements that followed its first appearance. They in turn sent me back, inevitably and ultimately, to look again at the cause of this philosophic skirmishing: Section 1 of Part i of Book III of Hume's Treatise of (...) Human Nature, entitled ‘Moral Distinctions not deriv'd from Reason’. The battles of the past have been waged chiefly round the last paragraph of this Section (pp. 469–470 in Selby-Bigge's edition), but my primary concern here is going to be with those ‘reasonings’ that precede the celebrated ‘is-ought’ paragraph. Closer attention to the bulk of Book III, Part i, Section 1, to which ‘reasonings’ Hume says he ‘cannot forbear adding … an observation’ on ‘is’ and ‘ought’, and some selective attention as well to Books I and II of the Treatise, should help to scale down the exaggerated importance attached to the ‘is-ought’ passage. Unless this is done, one runs the risk of permitting a tailpiece to wag the body of the chapter, if not the whole Book ‘Of Morals’. (shrink)

The knockdown argument, the logically impregnable position are rarities in philosophy. Indeed, there are some who might argue that no philosophical argument or position is immune from damaging criticism: what seems utterly convincing to one generation of philosophers is 1iable to be held up as a classic blunder by the next. Nevertheless, Hume's presentation of the problem of evil and his allied criticisms of a Christian-type theism have seemed conclusive to an impressive array of nineteenth- and twentieth-century philosophers, and both (...) his efforts, consequently, might be regarded as likely exceptions to the principle of philosophical fallibility. But now, in a fairly recent article, Professor Nelson Pike has seen fit to challenge even these supposedly reliable cornerstones of our philosophical heritage. More recently still, Pike has included this article, unchanged, in an anthology which he has edited, and he has backed it up with an introductory note which reaffirms his challenge to Hume on evil. (shrink)

Every philosophical belief has its presuppositions; no philosopher can operate without them. Some of mine are these: that the expression of a thought and the thought expressed are distinguishable but inseparable; that one’s thought about something and one’s feeling about that something are distinguishable but inseparable; that we humans have a nature but that it consists of psycho-physical dispositions, or capacities, of such vaguely defined sorts and limits that, from a spectator’s point of view, I eschew a priori pronouncements about (...) what human beings can or cannot do and await developments, and that, as an agent, I act in the spirit of Sartre’s self-creating chooser. In short, and skipping the refinements—failures of philosophical nerve—a person, a human being, a philosopher is what he does. (shrink)

A Companion to Biblical Interpretation in Early Judaism. Edited by Matthias Henze. Grand Rapids, Mich.: William B. Eerdmans Publishing Co., 2012. Pp. xv + 568. $50.

In their monograph Opera’s Second Death from 2002, Žižek and Dolar seem to join the illustrious company of cultural critics and musicologists, from Adorno to Gary Tomlinson, tolling the death knell for the operatic genre: with the advent of the 20 th century and the radical critique of the humanist premises that opera relied upon, the genre, so the story goes, had become at least anachronistic, if not outright reactionary. In the first section of my article I intend to not (...) only counter this claim, but also to directly engage with a recent attempt on the part of musicologist Nicholas Till to frame from a Deleuzian perspective contemporary opera’s renewed ability to deal with the metaphysical premises of the genre. In this respect I will suggest how, in spite of his own thesis on opera’s death, Žižek’s ontological thinking aptly frames the kind of metaphysics that operatic production is dealing with today. In the second section I intend to examine in more detail a case in point, even if a twisted one, for a recent musical reflection of opera’s metaphysical ties. In his late work Aristaeus, the German composer Hans Werner Henze attempts to reimagine the orphic myth outside its humanist framework. By closely reading this work against the grain of Henze’s earlier retelling of the Orpheus story in the form of a ballet, I will highlight how in Aristaeus he “traverses the fantasy” of his own humanism, seeking to directly engage at both the dramatic and the musical level with an Hegelian/Žižekian dimension of absolute negativity. (shrink)

Enth. u.a.: ".eine Form und ein Name: Tristan". Strukturelle und semantische Untersuchungen an Hans Werner Henzes Préludes für Klavier, Tonbänder und Orchester / Peter Petersen ; Prélude à l'après-midi d'un faune. Mallarmés Gedicht und Debussys Musik / József Ujfalussy ; Fragmente - Stille, An Diotima. Ikonographische Untersuchungen an Luigi Nonos Streichquartett / Georg Friedrich Haas.

Objetiva-se aprofundar temas pertinentes à valorização de práxis educativas na autoformação permanente com professores, favorecendo seus protagonismos e a interdisciplinaridade. Apresenta-se uma atividade planejada por professores de educação básica para estabelecer a necessária relação dialógica com seus pares e estudantes, a partir do documentário “Arquitetura da Destruição” para explorar o tema catástrofes, e o contexto histórico-político-social que ocorre. Compreendendo-se que a escola é um ambiente de interação onde todos aprendem, justifica-se essa premissa em Freire, Henz e Imbernón, sob a perspectiva (...) hermenêutica filosófica de Gadamer. Adorno e Trevisan sustentam os temas catástrofes/educação; e Fazenda, na interdisciplinaridade. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Big Women:Mark Adamo's Lysistrata, or the Nude Goddess Between Monteverdi and Musical ComedyRalph HexterWe live in an age when opera companies across America are regularly presenting new operas, and some of them are even making hesitant first steps into repertory status, though it is too soon to tell how long- or short-lived their performance history will be. Opera itself began—Peri's Dafne (1597) is commonly regarded as the starting point—as (...) an attempt to recreate Greek tragedy on the stage, and for at least its first two hundred years, plots drawing on classical material, if not always classical literary texts, were staples. Nineteenth-century opera composers were relatively less inclined to turn to the classics for plots and characters, but the twentieth century witnessed renewed activity in classically based operas, from Strauss' Elektra (1909) and Stravinsky's Oedipus Rex (1927) to Hans Werner Henze's Venus und Adonis (1997) and Randolph Peters' The Golden Ass (1999), to name but a few significant examples. Mark Adamo's Lysistrata, or the Nude Goddess, which premiered in Houston in 2005, is among the first operas in our new century to continue the tradition.Accompanied by a trio of distinguished distaff classicists, I attended the 2006 revival of Lysistrata, or the Nude Goddess at the New York City Opera. Some months later, as word of the outing—any resemblance to this or any other Aristophanic comedy is purely accidental—trickled out, AJP's editor asked me to write this "Brief Mention." The reader will infer, then, that I neither watched nor listened with the idea of writing such a notice. What follows are reflections based partially on recollection of my immediate impressions (especially of the music) but also on subsequent study of the published libretto,1 Adamo's earlier and quite popular Little Women (1998), and stray remarks of the composer in published or online [End Page 119] interviews. In no sense is it a review of the particular April 2nd matinee performance that I saw. Of that let me say that my impression was almost uniformly positive. The principals, who have very demanding parts (and not only vocally), were strong; several were reprising roles they had taken in the Houston world premiere.Adamo states on the title page of the libretto that the opera is "[f]reely adapted from the play by Aristophanes," and this is both true and to the good. Before I turn to the adaptation itself, it might be worth observing that within the reception history of ancient stageworks in opera, the tradition of classical comedies turned into operas is relatively slight. I put it that way because, of course, one might well argue that New Comedy in its Roman form is the ultimate source of all opera buffa. I say nothing new when I place Figaro directly in the line of servi callidi.2Greek Old Comedy (i.e., given the state of preservation, Aristophanes) has only infrequently provided fodder for opera. One of the most interesting cases is Walter Braunfels' setting of Aristophanes Birds—Die Vögel—premiered in 1920. Braunfels (1882–1954) was fired from his teaching post by the Nazis in 1933—he was half Jewish—and his works were banished from the repertory. Die Vögel, his most successful stagework, has been recently revived, and a recording is available in Decca's "Entartete ["degenerate"] Musik" series. One must also recall the famous Frogs performed in the pool of Yale's Payne Whitney Gymnasium in 1941, since, a generation later, in 1975, the piece was revived, provided with music and lyrics by Stephen Sondheim and, like so many other shows, transferred from New Haven (if not the Shubert) to Broadway.3Aristophanes is more at home, I would argue, in American musical comedy than in opera, at least opera as it has come to be received by modern audiences treated almost without exception to post-Gluckian opera, with major houses, until recently, shunning the more interesting hybrids. (Think even of Carmen and how long it took for it to lose the recitatives by Guiraud that replaced the original opéra comique spoken dialogue.) To modern spectators or readers, Aristophanes, with... (shrink)

Contemporary psychiatry maintains the myth that it is value neutral by appeal to modern medical science for both its diagnostic categories and its therapeutic interventions, leaving the impression that it relies on reason—that is to say, reason divorced from tradition—to master human nature. Such a practice has a certain way of characterizing and defining humanity's lapses from acceptable human behavior—a lapse from human being. The modern practice of psychiatry applies a particular notion (largely influenced by Enlightenment ideals) of scientific instrumentation (...) to the human person in order to diagnose the ailment and manufacture a corresponding treatment in keeping with a hidden conception of human biological flourishing. This covert vision is an impoverished (and possibly dangerous) one. As much as the practice of psychiatry is constrained by the goals of the dominant moral tradition of our day, it becomes a tool (or technique) for achieving the transient and partial ends of modern individualism. Given this truncated view of human nature and human end, modern psychiatry fails to attend comprehensively to the unity of a life, missing altogether the essential relevance of character formation, and thereby forfeiting excellence in human flourishing. (shrink)

The problem of justifying legal punishment has been at the heart of legal and social philosophy from the very earliest recorded philosophical texts. However, despite several hundred years of debate, philosophers have not reached agreement about how legal punishment can be morally justified. That is the central issue addressed by the contributors to this volume. All of the essays collected here have been published in the highly respected journal Philosophy & Public Affairs. Taken together, they offer not only significant proposals (...) for improving established theories of punishment and compelling arguments against long-held positions, but also ori-ginal and important answers to the question, "How is punishment to be justified?"Part I of this collection, "Justifications of Punishment," examines how any practice of punishment can be morally justified. Contributors include Jeffrie G. Murphy, Alan H. Goldman, Warren Quinn, C. S. Nino, and Jean Hampton. The papers in Part II, "Problems of Punishment," address more specific issues arising in established theories. The authors are Martha C. Nussbaum, Michael Davis, and A. John Simmons. In the final section, "Capital Punishment," contributors discuss the justifiability of capital punishment, one of the most debated philosophical topics of this century. Essayists include David A. Conway, Jeffrey H. Reiman, Stephen Nathanson, and Ernest van den Haag. (shrink)

T. 1. Ot antichnoĭ fiziki do Mendeleeva.

On fundamentals of Vedanta and science; a study.

Critical study of of the addresses of Sir Muhammad Iqbal, 1877-1938 from philosophical and religious point of view.

In an article “Countering a Counter-intuitive Probability” [4], Lynn E. Rose discusses a question in conditional probability, claiming that the following problem posed by Copi [1] is usually incorrectly solved:Remove all cards except aces and kings from a deck, so that only eight cards remain, of which four are aces and four are kings. From this abbreviated deck, deal two cards to a friend. If he looks at his cards and announces that his hand contains an ace, what is the (...) probability that both his cards are aces? If he announces instead that one of his cards is the ace of spades, what is the probability then that both his cards are aces? (shrink)

Книгата предлага някои оригинални идеи по вечни философски въпроси, които вълнуват човешката мисъл от древността досега.