In this surprising book, Allan V. Horwitz argues that our current conceptions of mental illness as a disease fit only a small number of serious psychological conditions and that most conditions currently regarded as mental illness are cultural constructions, normal reactions to stressful social circumstances, or simply forms of deviant behavior.

In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all hitherto (...) existing theories about the nature of cinematic representation, whether issuing from classic sources such as the film theory of Andre Bazin or the post-structuralist synthesis of Lacanian psychoanalysis, Barthesian textual analysis and Metzean cine-semiotics. Casebier shows how a phenomenological account of representation will further the aims of any film theory. Developing a viable feminist film theory, legitimizing the documentary, answering the challenge of Derridean deconstruction, properly theorizing narrativity, Film and Phenomenology argues that theory of film must be Realist both with respect to epistemology and ontological issues. In this way, this work runs contrary to the whole course of contemporary film theory which has been deeply anti-Realist. (shrink)

I present a puzzle – the “puzzle of aesthetic testimony” – along with a solution to it that appeals to the impossibility of testimonial understanding. I'll criticize this solution by defending the possibility of testimonial understanding, including testimonial aesthetic understanding.

Where does consciousness come from and how does it work? Is it a purely biological thing? Where does the brain leave off and the mind begin? These questions, once viewed as ethereal and impossible to study empirically, are now being addressed by science in bold and startling new ways.In Consciousness, world-renowned neuropsychiatrist J. Allan Hobson presents a witty and introspective consideration of this mysterious concept, connecting it to specific areas of the brain and their chemical and physical states. Hobson (...) guides his readers through the various states of waking, dreaming, and nonconsciousness using the theories and data of neuroscience, psychiatry, and neurophysiology. Although his ideas are based in science, his imaginative approach keeps us in touch with the mysterious and seductive nature of his subject.Richly woven, with references to literature, philosophy, and the author's personal experiences, Consciousness is a delightful and compact introduction to a concept central to the human experience. (shrink)

The behavior of some nightlife-setting patrons would be unacceptable in workplaces or public settings and could cause distress to other patrons. This quantitative study determined 381 young Australian’s descriptive and personal norms regarding four types of sexual behavior. Participants’ personal norms were that these behaviors are wrong, but they reported that the behaviors are common in a nightlife setting. Behaviors such as these could theoretically be prevented by modifying patrons’ descriptive norms with evidence that their beliefs are contrary to individuals’ (...) personal norms of acceptable behavior in nightlife settings. (shrink)

Can novels, plays and poetry tell us something important and true about who we are, about others, and about life generally? The question seems to be of interest not only to writers on literary theory and aesthetics, but to people generally. This paper considers the issues involved.

In this book J. Allan Hobson offers a new understanding of altered states of consciousness based on knowledge of how our brain chemistry is balanced when we are...

_ Source: _Volume 9, Issue 2, pp 306 - 326 In recent years David Christian and others have promoted “Big History” as an innovative approach to the study of the past. The present paper juxtaposes to Big History an old Big History, namely, the tradition of “universal history” that flourished in Europe from the mid-sixteenth century until well into the nineteenth century. The claim to universality of works in that tradition depended on the assumed truth of Christianity, a fact that (...) was fully acknowledged by the tradition’s adherents. The claim of the new Big History to universality likewise depends on prior assumptions. Simply stated, in its various manifestations the “new” Big History is rooted either in a continuing theology, or in a form of materialism that is assumed to be determinative of human history, or in a somewhat contradictory amalgam of the two. The present paper suggests that “largest-scale history” as exemplified in the old and new Big Histories is less a contribution to historical knowledge than it is a narrativization of one or another worldview. Distinguishing between largest-scale history and history that is “merely” large-scale, the paper also suggests that a better approach to meeting the desire for large scale in historical writing is through more modest endeavors, such as large-scale comparative history, network and exchange history, thematic history, and history of modernization. (shrink)

This reference work aims describes all aspects of the study of meaning in language. It synthesises the latest scholarly positions on the construction, interpretation, clarification, obscurity, illustration, amplification, simplification, negotiation, contradiction, contraction and paraphrasing of meaning.

This paper approaches dreaming consciousness through an examination of the self-organizing properties of the sleeping brain. This view offers a step toward reconciliation between brain-based and content-based attempts to understand the nature of dreaming. Here it is argued that the brain can be understood as a complex self-organizing system that in dreaming responds to subtle influences such as residual feelings and memories. The hyper-responsiveness of the brain during dreaming is viewed in terms of the tendency of complex chaotic-like systems to (...) respond to small variations in initial conditions and to the amplification of subtle emotional and cognitive signals through the mechanism of stochastic resonance, all in combination with psychophysiological changes in the brain during both slow wave sleep and REM sleep dreaming. Such changes include the active inhibition of extroceptive stimulation and, especially in REM sleep, alterations in the brain's dominant neuromodulatory systems, bombardment of the visual cortex with bursts of PGO activity, increases in limbic system activity, and a reduction of activity in the prefrontal regions. (shrink)

In the second half of the twentieth century, an influential strain of ethical thinking conceptualized itself as a revival of an ancient ethical tradition, as against modern moral philosophy, and in particular as a recovery of two central ethical concepts: virtue and eudaimonia. This revival paved the way for virtue ethics to be regarded as one of the “big three” approaches in ethics, alongside deontological and consequentialist approaches. Early developments of virtue ethics were eudaimonist, harking back to ancient Greek philosophers, (...) espe- cially Aristotle. Now, virtue ethics is understood as a genus, eudaimonist virtue ethics being only one species (Swanton 2003: 1), and virtue has become an important concept for other approaches in ethics, and in other areas of philosophy, such as epistemology. In this chapter, we provide a sketch of this revival, beginning with the features of modern moral philosophy, discontent with which provided the impetus for the revival, and concluding with some speculations about future developments of virtue ethics and the concept of virtue. (shrink)

D. J. Allan; XV—Aristotle's Criticism of Platonic Doctrine Concerning Goodness and The Good, Proceedings of the Aristotelian Society, Volume 64, Issue 1, 1 June.

The lunar Three-Body problem is a famously intractable problem of Newtonian mechanics. The demand for accurate predictions of lunar motion led to practical approximate solutions of great complexity, constituted by trigonometric series with hundreds of terms. Such considerations meant there was demand for high speed machine computation from astronomers during the earliest stages of computer development. One early innovator in this regard was Wallace J. Eckert, a Columbia University professor of astronomer and IBM researcher. His work illustrates some interesting features (...) of the interaction between computers and astronomy. (shrink)

Explains a key aspect of Malraux's theory of art – his explanation of the nature of artistic creation. The question is widely neglected in modern aesthetics.

An important tradition in popular and academic environmentalist thought concentrates on cosmological issues, to do with overarching (or underlying) views about the nature of reality and the place of humanity in nature. This tradition connects the environmental crisis with anthropocentric and mechanistic cosmologies, and tries to address this crisis through cosmological critique and reconstruction – a practice I call 'cosmological intervention'. This practice presupposes a link between 'world view' and 'ethos'. I argue that an environmentalist ethos does not necessarily or (...) automatically follow from the world view elements propounded in cosmological interventions. Rather, world view symbolises ethos. Cosmologies favoured by environmentalists describe the abstract and necessary properties of the world in ways which reflect those concrete and contingent properties of the world that the ecology movement seeks to protect, extend and celebrate. (shrink)

It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art endures (...) because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

Carl Jung coined the term "synchronicity" to describe meaningful coincidences that conventional notions of time and causality cannot explain. Working with the great quantum physicist Wolfgang Pauli, Jung sought to reveal these coincidences as phenomena that involve mind and matter, science and spirit, thus providing rational explanations for parapsychological events like telepathy, precognition, and intuition. Synchronicity examines the work of Jung and Pauli, as well as noted scientists Werner Heisenberg and David Bohm; identifies the phenomena in ancient and modern mythologies, (...) particularly the Greek legend of Hermes the Trickster; and illustrates it with engaging anecdotes from everyday life and literature. (shrink)

Johnson takes us into every nook and cranny of social life, from the meaning of "I love you" to the ravages of social oppression.

After an initial period of popularity in the 1960s and 1970s, André Malraux’s works on the theory of art, "The Voices of Silence" and "The Metamorphosis of the Gods", lapsed into relative obscurity. A major factor in this fall from grace was the frosty reception given to these works by a number of leading art historians, including E.H. Gombrich, who accused Malraux of an irresponsible approach to art history and of "reckless inaccuracies". This essay examines a representative sample of the (...) art historians' arguments and contends that they reveal serious misreadings of Malraux’s texts and a recurring tendency to confuse matters of interpretation with matters of fact. The article suggests that the charge of irresponsibility might well be levelled at the critics themselves, and that the myth of Malraux as guilty of ‘reckless inaccuracies’ needs to be debunked. (shrink)

Social constructionists believe that experimental evidence plays a minimal role in the production of scientific knowledge, while rationalists such as myself believe that experimental evidence is crucial in it. As one historical example in support of the rationalist position, I trace in some detail the theoretical and experimental research that led to our understanding of beta decay, from Enrico Fermi’s pioneering theory of 1934 to George Sudarshan and Robert Marshak’s and Richard Feynman and Murray Gell-Mann’s suggestion in 1957 and 1958, (...) respectively, of the V–A theory of weak interactions. This is not a history of an unbroken string of successes, but one that includes incorrect experimental results, incorrect experiment-theory comparisons, and faulty theoretical analyses. Nevertheless, we shall see that the constraints that Nature imposed made the V–A theory an almost inevitable outcome of this theoretical and experimental research. (shrink)

The critical legal studies movement involves a group of scholars who have political views ranging from disaffected liberalism to committed marxism to utopian anarchism. This movement in the field of jurisprudence has arisen aver the past ten years and hopes to influence a radical change in what they view as liberal orthodox legal theory. Topics of discussion include the intellectual foundations of the CLS movement, its principles and aims, its critique of the legal doctrine and ideas for change.

The recent publication of a lost essay by Herbert Hart is important for an historical appreciation of his work, but its likely celebration is a sad testament to the poverty and lethargy of contemporary legal thought. I use this occasion to review the state and condition of contemporary legal theorising. After positioning Hart's essay in the prevailing jurisprudential milieu, I highlight the thrust and the failings of the three main traditional approaches to contemporary legal theorising in regard to the nature (...) and operation of 'judicial discretion'. Then, I suggest an alternative approach to legal theorising that recommends a more satisfying way of proceeding. (shrink)

This essay responds to Lewis Ford’s “Allan’s Atheism,” in which he assesses a recent essay of mine that finds God an unnecessary and indeed coherence-destroying addition to Process and Reality. I clarify my position by showing how Whitehead’s notions of physical purpose and aesthetic determination adequately account for the novelty required for an actual occasion’s concrescence and for increases in achieved value. I then criticize Ford’s claim that genuine novelties must have a divine origin and that in Adventures of (...) Ideas the Eros of the Universe refers to God. (shrink)