This paper will address scientific collaboration at the Zoophysiological Laboratory during the 1911–1945 directorship of Nobel Prize winner August Krogh. Using authorship information and acknowledgments from the laboratory’s publications, this paper maps the many researchers involved in the work. In total, 193 different people contributed to the work at the Zoophysiological Laboratory. The paper further analyzes what labor, materials, ideas, and knowledge were exchanged between the individuals in the laboratory. While science has become more collaborative throughout the twentieth century, this (...) paper underlines that collaboration was very much part of the research process in the early twentieth century. (shrink)

The concepts of meaning and mental content resist naturalistic analysis. This is because they are normative: they depend on ideas of how things ought to be. Allan Gibbard offers an expressivist explanation of these 'oughts': he borrows devices from metaethics to illuminate deep problems at the heart of the philosophy of language and thought.

In Experiment, Right or Wrong, Allan Franklin continues his investigation of the history and philosophy of experiment presented in his previous book, The Neglect of Experiment. Using a combination of case studies and philosophical readings of those studies, Franklin again addresses two important questions: (1) What role does and should experiment play in the choice between competing theories and in the confirmation or refutation of theories and hypotheses? (2) How do we come to believe reasonably in experimental results? Experiment, (...) Right or Wrong makes a significant contribution to an important area in contemporary history and philosophy of science. Philosophers and historians of science, physicists, and advanced students in these areas will find much of interest in this engaging study. (shrink)

The Dialectic of Essence offers a systematic new account of Plato's metaphysics. Allan Silverman argues that the best way to make sense of the metaphysics as a whole is to examine carefully what Plato says about ousia (essence) from the Meno through the middle period dialogues, the Phaedo and the Republic, and into several late dialogues including the Parmenides, the Sophist, the Philebus, and the Timaeus. This book focuses on three fundamental facets of the metaphysics: the theory of Forms; (...) the nature of particulars; and Plato's understanding of the nature of metaphysical inquiry. Silverman seeks to show how Plato conceives of "Being" as a unique way in which an essence is related to a Form. Conversely, partaking ("having") is the way in which a material particular is related to its properties: Particulars, thus, in an important sense lack essence. Additionally, the author closely analyzes Plato's idea that the relation between Forms and particulars is mediated by form-copies. Even when some late dialogues provide a richer account of particulars, Silverman maintains that particulars are still denied essence. Indeed, with the Timaeus's introduction of the receptacle, there are no particulars of the traditional variety. This book cogently demonstrates that when we understand that Plato's concern with essence lies at the root of his metaphysics, we are better equipped to find our way through the labyrinth of his dialogues and to better appreciate how they form a coherent theory. (shrink)

Although "objectivity" is a term used widely in many areas of public discourse, from discussions concerning the media and politics to debates over political correctness and cultural literacy, the question "What is objectivity?" is often ignored, as if the answer were obvious. In this volume, Allan Megill has gathered essays from fourteen leading scholars in a variety of fields--history, anthropology, philosophy, psychology, history of science, sociology of science, feminist studies, literary studies, and accounting--to gain critical understanding of the idea (...) of objectivity as it functions in today's world. In diverse essays the authors provide fascinating studies of objectivity in such areas as anthropological research, corporate and governmental bureaucracies, legal discourse, photography, and the study and practice of the natural sciences. Taken together, Megill argues, this volume calls for developing a notion of "objectivities." The absolute sense of objectivity--that is, objectivity as a "God's eye view"--must be supplemented, and in part supplanted, by disciplinary, procedural, and dialectical senses of objectivity. This book will be of great interest to a broad range of scholars as it presents current thinking on a topic of fundamental concern across the disciplines in the humanities and social sciences. Contributors. Barry Barnes, Dagmar Barnouw, Lorraine Code, Lorraine Daston, Johannes Fabian, Kenneth J. Gergen, Mary E. Hawkesworth, Barbara Herrnstein Smith, Evelyn Fox Keller, George Levine, Allan Megill, Peter Miller, Andy Pickering, Theodore M. Porter. (shrink)

_Becoming Human_ argues that human identity was articulated and extended across a wide range of textual, visual, and artifactual assemblages from the twelfth to the fifteenth centuries. J. Allan Mitchell shows how the formation of the child expresses a manifold and mutable style of being. To be human is to learn to dwell among a welter of things. A searching and provocative historical inquiry into human becoming, the book presents a set of idiosyncratic essays on embryology and infancy, play (...) and games, and manners, meals, and other messes. While it makes significant contributions to medieval scholarship on the body, family, and material culture, _Becoming Human_ theorizes anew what might be called a medieval ecological imaginary. Mitchell examines a broad array of phenomenal objects—including medical diagrams, toy knights, tableware, conduct texts, dream visions, and scientific instruments—and in the process reanimates distinctly medieval ontologies. In addressing the emergence of the human in the later Middle Ages, Mitchell identifies areas where humanity remains at risk. In illuminating the past, he shines fresh light on our present. (shrink)

The invisibility of nursing work has been discussed in the international literature but not in relation to learning clinical skills. Evans and Guile's (Practice‐based education: Perspectives and strategies, Rotterdam: Sense, 2012) theory of recontextualisation is used to explore the ways in which invisible or unplanned and unrecognised learning takes place as newly qualified nurses learn to delegate to and supervise the work of the healthcare assistant. In the British context, delegation and supervision are thought of as skills which are learnt (...) “on the job.” We suggest that learning “on‐the‐job” is the invisible construction of knowledge in clinical practice and that delegation is a particularly telling area of nursing practice which illustrates invisible learning. Using an ethnographic case study approach in three hospital sites in England from 2011 to 2014, we undertook participant observation, interviews with newly qualified nurses, ward managers and healthcare assistants. We discuss the invisible ways newly qualified nurses learn in the practice environment and present the invisible steps to learning which encompass the embodied, affective and social, as much as the cognitive components to learning. We argue that there is a need for greater understanding of the “invisible learning” which occurs as newly qualified nurses learn to delegate and supervise. (shrink)

This is a study of the attributes problem in the metaphysics of Spinoza, using the recent literature ascribing an absolute idealism to Spinoza as a point of departure.

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.

One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...) to “imitate a gesture that is always anterior, never original”. This paper explains the understanding of artistic creation developed by the French art theorist André Malraux in his well-known book The Voices of Silence. Malraux argues that the true artist is involved in a creative act in the full sense of the term – creation ex nihilo – despite the debt he or she often owes to other artists. The paper also comments briefly on possible reasons why traditional post-Enlightenment aesthetics has said so little about the topic in question. (shrink)

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)

In this treatise, the dimensions of Paulinian stewardship as a way of caring for God’s creation are expounded and analyzed. This is ensued by a critical review on the Epistles of St. Paul in explaining the concept of stewardship as a calling, leading by example, and a way of life. Moreover, as stewardship is equated with the Paulinian core value of community, the attitude, and the action of a steward’s life of service to others and God are highlighted.

Rodion Raskolnikov, the central figure in Dostoyevsky’s Crime and Punishment, is one of the best-known characters in the world of the novel but one who continues to pose major interpretive problems. Why exactly does he murder the old pawnbroker and her sister? Why, throughout the novel, does he continue to believe that he has committed no crime? And why, despite this belief, does he suffer a form of psychological breakdown and eventually give himself up to the police? This article, which (...) traces Raskolnikov’s literary ancestry to Les Liaisons dangereuses and Le Père Goriot, argues that Raskolnikov, a prototype of the modern “virtuous assassin” described by Albert Camus in L’Homme révolté, commits murder to implement a “magnificent” idea that will establish his worth as a human being. His ultimate collapse results not, as sometimes suggested, from guilt or remorse, or a belief that he has deluded himself about his motives, but from the state of irremediable solitude into which his act plunges him. -/- _PLEASE NOTE:_ This journal is moving from Oxford to Johns Hopkins. The move is still under way (4/2/25) so my Crime and Punishment article may not be accessible at the moment at either. In the meantime I've uploaded a copy to "archive" on this site. Derek Allan. (shrink)

Since the emergence of Western philosophy and science among the classical Greeks, debates have raged over the relative significance of biology and culture on an individual's behavior. Today, recent advances in genetics and biological science have pushed most scholars past the tired nature vs. nurture debate to examine the ways in which the natural and the social interact to influence human behavior. In What's Normal?, Allan Horwitz brings a fresh approach to this emerging perspective. Rather than try to solve (...) these issues universally, Horwitz demonstrates that both social and biological mechanisms have varying degrees of influence in different situations. Through case studies of human universals such as incest aversion, fear, appetite, grief, and sex, Horwitz first discusses the extreme instances where biology determines behavior, where culture dominates, and where culture overrides basic biological instincts. He then details the variety of ways in which genes and environments interact; for instance, the primal drive to eat and store calories when food supplies were scarce creates serious problems in a society where food is abundant and obesity stigmatized. Now that it's often easier to change our biology rather than our culture, an understanding of which behaviors and traits are simply normal or abnormal, and which are pathological or necesitate treatment is more important than ever. Wide-ranging and accessible, What's Normal? provides a crucial guide to the biological and social bases of human behavior at the heart of these matters. (shrink)

Een bezoek aan Sint-Petersburg vlak na het einde van de Sovjetunie doet filosoof Allan Janik inzien hoezeer het postmodernisme, met zijn credo van 'alles is toegestaan', leidt tot nihilisme en tot een marginalisering van de filosofie zelf. De Russische filosofen die hij er ontmoet, bewegen zich in een werkelijk postmoderne maatschappij, een chaotisch machtsvacuüm waar niets vanzelfsprekend is. Juist daar blijkt dat een relativistisch-postmoderne houding weliswaar terecht de 'Grote Verhalen' ondermijnt, maar dat ze wegkijkt van de werkelijke problemen. Zo (...) plaatst de filosofie zichzelf in de marge, op een moment waarop ze juist een rol van betekenis kan en moet spelen. (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)

We can trace the “evolutionary epic” (named by E. O. Wilson, 1978) back to earlier writers, beginning with Robert Chambers (1844). Its basic elements are: fixation on seeing human history as rooted in biology; an aspiration toward telling the whole history of humankind (in its essential features); and insistence on the overall coherence of the projected narrative. The claim to coherence depends on assuming either that the universe possesses an “embedded rationality,” or that it is guided by divine purpose. This (...) article proposes the term “idealism” to refer to these two assumptions taken together, for in practice they were closely linked. Nietzsche (1881) was perhaps the first thinker to point out the evolutionary epic's dependence on such an idealism, and he also pointed out that the assumptions of embedded rationality and of divine purpose are closely connected. Darwin's theory of descent with modification (1859) was sharply inconsistent with these assumptions: he was not an “idealist” in the sense indicated here, and not a proponent of the evolutionary epic. Proclaiming his “materialism,” Wilson (1978) failed to acknowledge that the epic depends on idealist assumptions; other adherents of the genre (M. Dowd, L. Rue) resurrect (knowingly or not) its theological roots. (shrink)

How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...) that left a profound impression on Renaissance culture and often found expression in its poetry. Subsequently the same belief exerted a powerful influence on Enlightenment aesthetics and, in various forms, it still lingers on today. The nineteenth century, however, saw a major challenge to this thinking. Hegel, Marx and Taine stressed the historical embeddedness of art and for these three thinkers, as for a series of more recent theorists such as Sartre, Benjamin, and Adorno, art belongs within the world of historical change. To locate its essential qualities in a “timeless” realm removed from the flow of history would be an idealist illusion. The conflict between these two positions has resulted in an impasse, and today we appear to lack any viable account of one of art’s key features – its capacity to transcend time. André Malraux proposes an entirely new account of this unique power of art. For Malraux, as this article explains, art is neither exempt from history (timeless) nor wholly inseparable from it. Art overcomes temporal distance – transcends time – through metamorphosis, a process of continual transformation in significance in which history plays an essential, but not exclusive, part. “La métamorphose,” Malraux writes, “est la vie même de l’œuvre d’art dans le temps, l’un de ses caractères spécifiques.” This proposition, to which contemporary aesthetics has so far paid very little attention, is a revolutionary step in our thinking about art. -/- . (shrink)

Great cases are those judicial decisions around which the common law develops. This book explores eight exemplary cases from the United Kingdom, the United States and Australia that show the law as a living, breathing and down-the-street experience. It explores the social circumstances in which the cases arose and the ordinary people whose stories influenced and shaped the law as well as the characters and institutions that did much of the heavy lifting. By examining the consequences and fallout of these (...) decisions, the book depicts the common law as an experimental, dynamic, messy, productive, tantalizing and bottom-up process, thereby revealing the diverse and uncoordinated attempts by the courts to adapt the law to changing conditions and shifting demands. Great cases are one way to glimpse the workings of the common law as an untidy but stimulating exercise in human judgment and social accomplishment. (shrink)