Examines Frege's theory of judgement, according to which a judgement is, paradigmatically, the assertion that a particular object falls under a given concept. Throughout the book the aim is to both state Frege's views clearly and concisely, and to defend, modify or reject these where appropriate.

The question I shall attempt to address in what follows is an essentially historical one, namely: Why did analytic philosophy emerge first in Cambridge, in the hands of G. E. Moore and Bertrand Russell, and as a direct consequence of their revolutionary rejection of the philosophical tenets that form the basis of British Idealism? And the answer that I shall try to defend is: it didn't. That is to say, the ‘analytic’ doctrines and methods which Moore and Russell embraced in (...) the very last years of the nineteenth century were not revolutionary, did not emerge first in Cambridge, were the creation of neither Russell nor Moore and cannot be explained by appeal to facts concerning British Idealism. The adoption of the doctrines and methods which characterised the earliest manifestations of British analytic philosophy are to be explained neither by reference to anything specifically British, nor by appeal to anything unproblematically philosophical. Or so I shall argue. (shrink)

Während seiner langjährigen Tätigkeit als Facharzt für Psychiatrie am Tavistock and Portman NHS Foundation Trust hat der Autor dieses Beitrags die Entwicklung der Gesundheitsfürsorge von Kindern mit Geschlechtsidentitätsstörung (»gender dysphoria«) aus nächster Nähe beobachtet. Der Beitrag entwickelt einige Hypothesen zu den soziokulturellen Faktoren für den plötzlichen, sprunghaften Anstieg der Zahl minderjähriger Patienten, bei denen Geschlechtsidentitätsstörungen diagnostiziert und die dann zur medikamentösen und operativen Geschlechtsumwandlung an spezialisierte Zentren überwiesen wurden, und schildert charakteristische Denkverbote in diesem Zusammenhang. Die beruflichen Bedingungen, die seinen (...) Text beeinflussten, und die weiteren Entwicklungen in der Tavistock-Klinik wie auch in seinem eigenen Leben erläutert der Autor schließlich in einem nachstehenden Kommentar zu seinem eigenen Text. (shrink)

This article addresses the activation of aesthetics through the examination of an acute sensitivity to melancholy and time permeating the literary and pictorial arts of Japan. In medieval court circles, this sensitivity was activated through a pervasive sense of aware, a poignant reflection on the pathos of things. This sensibility became the motivating force for court verse, and through this medium, for the mature projects of the ukiyo-e ‘floating world picture’ artist Katsushika Hokusai. Hokusai reached back to aware sensibilities, subjects (...) and conventions in celebrations of the poetic that sustained cultural memories resonating classical lyric and pastoral themes. This paper examines how this elegiac sensibility activated Hokusai’s preoccupations with poetic allusion in his late representations of scholar-poets and the unfinished series of Hyakunin isshu uba-ga etoki, ‘One hundred poems, by one hundred poets, explained by the nurse’. It examines four works to explain how their synthesis of the visual and poetic could sustain aware themes and tropes over time to maintain a distinctive sense of this aesthetic sensibility in Japan. (shrink)

This chapter contains sections titled: Life The Metaphysics of Experience Autonomy and the Moral Law.

In March 2012, Joshua Foer presented a TED Talk to a mesmerized audience. As he began, Foer asked the audience members to close their eyes, and he proceeded to describe a scenario in which a series of striking images appeared as he talked his spectators through various architectural spaces in a house they were to imagine as their own. First, a group of nude bicyclists materialized at the front door, crashing before the very eyes of the bemused beholders, sending bicycle (...) pieces flying in all directions. An encounter with Sesame Street’s Cookie Monster in the entrance foyer ensued, during which salient details of the Muppet’s appearance were described down to the smell of his... (shrink)

“I don’t believe what people say to me, I believe the way they say it,” Christian Bobin said. “This is where the sonic is located, in the manner of speaking, in the way in which bodies move and silences occur.”It would be hard to argue that sound is something the public or professionals, whose work is to create sound, actually think about carefully and consciously, as strange as this might seem. Sound in film is rarely addressed from a theoretical perspective. (...) Few books are dedicated to it beyond purely technical works, and those do not often consider the aesthetic conditions of sound production. The question of the existence of sound is abandoned in favor of normalizing procedures for producing it, absent any... (shrink)