Bob Solomon used to inveigh against William James’ theory of emotions, but he eventually arrived at a rapprochement with James and James’s recent successors. In particular, James suggested that emotions are initiated by the “automatic, instinctive” appraisals that register important information in the body and are recorded by body-mapping brain areas. In recent work Solomon describes the judgments he thinks constitute emotions as felt bodily appraisals in similar fashion.

Bob Solomon used to inveigh against William James’ theory of emotions, but he eventually arrived at a rapprochement with James and James’s recent successors. In particular, James suggested that emotions are initiated by the “automatic, instinctive” appraisals that register important information in the body and are recorded by body-mapping brain areas. In recent work Solomon describes the judgments he thinks constitute emotions as felt bodily appraisals in similar fashion.

Physicalism has, over the past twenty years, become almost an orthodoxy, especially in the philosophy of mind. Many philosophers, however, feel uneasy about this development, and this volume is intended as a collective response to it. Together these papers, written by philosophers from Britain, the United States, and Australasia, show that physicalism faces enormous problems in every area in which it is discussed. The contributors not only investigate the well-known difficulties that physicalism has in accommodating sensory consciousness, but also bring (...) out its inadequacies in dealing with thought, intentionality, abstract objects, , and principles of both theoretical and practical reason; even its ability to cope with the physical world itself is called into question. Both strong "reductionist" versions and weaker "supervenience" theories are discussed and found to face different but equally formidable obstacles. Contributors include George Bealer, Peter Forrest, John Foster, Grant Gillett, Bob Hale, Michael Lockwood, George Myro, Nicholas Nathan, David Smith, Steven Wagner, Ralph Walker, and Richard Warner. (shrink)

If David Lewis's modal realism is true, then there are many, many people. According to Mark Heller, this is bad news. He takes modal realism (MR) to imply that "there are at least some cases in which it is permissible to let drowning children drown when it would be easy to save them." But since he holds the reasonable view that this is never permissible, he thinks that MR is false. Here, I argue that Lewis needn't be troubled by this (...) objection, and that it provides no reason to reject MR for those who share Lewis's moral outlook. Moreover, I argue that disagreement with common sense needn't be severe if we can show both (a) that there's a sense in which common sense is correct and (b) we have little reason to care about the sense in which common sense is mistaken. (shrink)

According to deontological approaches to justification, we can analyze justification in deontic terms. In this paper, I try to advance the discussion of deontological approaches by applying recent insights in the semantics of deontic modals. Specifically, I use the distinction between weak necessity modals and strong necessity modals to make progress on a question that has received surprisingly little discussion in the literature, namely: ‘What’s the best version of a deontological approach?’ The two most obvious hypotheses are the Permissive View, (...) according to which justified expresses permission, and the Obligatory View, according to which justified expresses some species of obligation. I raise difficulties for both of these hypotheses. In light of these difficulties, I propose a new position, according to which justified expresses a property I call faultlessness, defined as the dual of weak necessity modals. According to this view, an agent is justified in phi-ing iff it’s not the case that she should [/ought] not phi. I argue that this ‘Faultlessness View’ gives us precisely what’s needed to avoid the problems facing the Permissive and Obligatory Views. (shrink)

Kit Fine’s book is a study of abstraction in a quite precise sense which derives from Frege. In his Grundlagen, Frege contemplates defining the concept of number by means of what has come to be called Hume’s principle—the principle that the number of Fs is the same as the number of Gs just in case there is a one-to-one correspondence between the Fs and the Gs. Frege’s discussion is largely conducted in terms of another, similar but in some respects simpler, (...) proposal—to define the concept of direction by laying down the principle that the direction of a line a is the same as that of line b if and only if lines a and b are parallel. Such principles have come to be known as abstraction principles. More generally, abstraction principles are ones of the shape: ∀α∀β ↔ α ≈ β), where ≈ is an equivalence relation on entities of the type over which α and β vary and, if the principle is acceptable, § is a function from entities of that type to objects. Since ‘the direction of’ is intended to stand for a function from objects of a certain sort to other objects, the Direction Equivalence is a first-order, or in Fine’s terminology objectual, abstraction; since ‘the number of’ is intended to stand for a function from concepts to objects, Hume’s principle is a higher-order, or as Fine says conceptual, abstraction. As is well-known, Frege himself abandoned the idea of defining number implicitly or contextually by means of Hume’s principle—adopting instead an explicit definition of the number of Fs as the extension of the concept concept equinumerous to the concept F— because he thought that an adequate definition should settle the question whether Julius Caesar, for example, is or is not the number of some concept, but that the proposed implicit definition cannot do so. But interest in abstraction principles has revived in the last couple of decades, largely as a result of Crispin Wright’s attempt to show that in spite of the many difficulties confronting it—including the notorious Julius Caesar problem— Hume’s principle can after all serve as a foundation for arithmetic. (shrink)

Juslin & Vll (J&V) think that all emotions aroused by music have the music itself as their Some of the mechanisms they discuss almost certainly involve both cognitive appraisals and intentional objects. But some of the mechanisms are non-cognitive: they involve neither cognitive appraisals nor intentional objects. Partly for this reason they may produce moods rather than emotions proper.

Chapter 1 The Author: Life and Works 1 . Historical and Cultural Background In the twelfth and thirteenth centuries, the Jews of southern France (the Midi, ...

Most academic philosophers and intellectual historians are familiar with the major historical figures and intellectual movements coming out of Scotland in the 18 th Century. These scholars are also familiar with the works of Immanuel Kant and his influence on Western thought. But with the exception of discussion examining David Hume’s influence on Kant’s epistemology, metaphysics, and moral theory, little attention has been paid to the influence of the Scottish Enlightenment thinkers on Kant’s philosophy. _Kant and The Scottish Enlightenment_ aims (...) to fill this perceived gap in the literature and provides a starting point for future discussions looking at the influence of Hume, Thomas Reid, Adam Smith, Francis Hutcheson, and other Scottish Enlightenment thinkers on Kant’s philosophy. The chapters are laid out according to a natural progression of ideas beginning with the influence of Scottish Enlightenment thinkers on Kant’s moral thought, including the role of feelings, reason, and religion. From there, the discussion moves to an examination of the relationship between truth, freedom, and responsibility in the texts coming out of the Scottish Enlightenment and its connection to Kant’s metaphysics and aesthetics. The volume concludes with a discussion of the influence of Scottish Enlightenment thinkers on Kant’s anthropology. This book will be of interest to Kant scholars as well as philosophers and intellectual historians working in the history of eighteenth-century philosophy. (shrink)

This article will review reasons why it is argued that the law on abortion on the grounds of disability is discriminatory, as well as recent unsuccessful attempts to address this discrimination in the law. These attempts include ones which would have moderately restricted access to abortion in certain limited cases, and another that might have opened to door to a number of different possibilities, including both to options that could have restricted access to abortion, and to other options that might (...) have increased access. Finally, this article will also examine reasons why some of the most important challenges surrounding disability equality cannot be sufficiently addressed through legal change alone. While there are strong reasons to support some form of change in the law, a more foundational change in values is necessary if we want to live in a more ethical society that is truly capable of welcoming disabled children. (shrink)

Whether an individual doctoral study or a large-scale multidisciplinary project, researchers working across cultures face particular challenges around power, identity, and voice, as they encounter ethical dilemmas which extend beyond the micro-level of the researcher-researched relationship. In using a cross-cultural perspective on how to conceptualise research problems, collect data, and disseminate findings in an ethical manner, they also engage with the geopolitics of academic writing, language inequalities, and knowledge construction within a globalised economy. It is increasingly recognised that existing ethical (...) codes and paradigms either do not sufficiently address such issues or tend to be rather restrictive and insensitive to multiple and complex cultural and contextual differences. This book extends our understanding of the ethical issues and dilemmas faced by researchers in comparative and international education. It asks what the relevance of postcolonial theory is for understanding research ethics in comparative and international education; whether Western ethical practices in qualitative social research are incompatible with cultures outside the West; how a ‘situated’ approach can be developed for exploring research ethics across cultures and institutions; and how ‘informed consent’ can be negotiated when the process appears to contradict community values and practices. In sharing experiences from a wide range of cultural and institutional contexts, the authors offer both theoretical resources and practical guidance for conducting research ethically across cultures. This book was originally published as a special issue of _Compare: A Journal of Comparative and International Education. _. (shrink)

This book analyses the influences of ideas of honor on the causes, conduct, and endings of wars from Ancient Greece through to the present-day war in Iraq. It does this through a series of historical case studies. In the process, it highlights both the differences and the similarities between the various eras under study, and draws conclusions about the relevance of honor to war in the modern era. Each chapter looks at a particular period in history and is divided into (...) nine sections: Honor and virtue in the relevant period; Honor and the causes of war; Honor as a motivation for fighting; Honors and rewards; Death and honor; Honor and the conduct of war; Honor and the enemy; Honor and the ending of wars; Women and honor. The book makes use of original archival research and interviews with serving military officers, as well as secondary source material. Its subject will be of interest not merely to students of military history, military ethics, security studies and international relations, and anthropology/sociology/philosophy/history of ideas. (shrink)

Rationality in medicine is frequently construed as hypotheticodeductive. This article argues that such a model gives a distorted view of the rational character of an enterprise that makes judgments about individual human well-being. Medicine as a science is a practical human science. Seen as such, its rational orientation is one that applies general knowledge to particular situations. It is argued that such an orientation is not deductive but interpretative. The Aristotelian concept of practical wisdom (‘phron sis’) is used as a (...) model of the rational orientation of clinical judgment. Keywords: clinical judgment, rationality, human sciences CiteULike Connotea Del.icio.us What's this? (shrink)

Explains, in graphic novel format, the thinking of the most important philosophers in the Western tradition, including Aristotle, Francis Bacon, and Jean-Paul Sartre.

This book was written to try to integrate various strands of concern about communication, language, and thinking. There are two related questions that have served to initiate the enquiries that resulted in this book: Why do people hold false beliefs? And why do they accept and use inadequate arguments in support of their beliefs? The author has provided a clear conceptual framework to address these issues and in doing so he folds into the arguements the marvelous richness of language as (...) a vehicle of communication. (shrink)

What are the acceptable limits of scientific investigation and genetic engineering, the rights and wrongs of animal rights, euthanasia and civil disobedience? This book confronts these dilemmas, tracing arguments of moral thinkers, including Socrates, Plato, Aristotle, and brings us up to date with postmodern critics.

Ethics, religion, and spirituality -- Spirituality in care -- Spirituality and ethics -- Love -- The community of care : fit for purpose -- Values, virtues, and the patient -- Challenging faith -- Spirituality and the domain of justice.

Fixity and freedom.--Law and love.--Authority and experience.

This article focuses on the positive reasons for adopting epiphenomenalism. Some objections that have been answered in more detail in my other work receive some response here, but the main point is to see why epiphenomenalism is an attractive view for those with a generally naturalistic outlook. It distinguishes qualitative events from propositional states and explains why their treatment must be different. The view that our words must 'express our thoughts' is critically examined.

Presents a collection of photographs that depict everyday life on the streets of Chicago.

In recent years ethical discussion has centred round the problem of the relation between the idea of right and the idea of good. Previously it had been more or less generally assumed that moral philosophy was principally concerned with the idea of good, and followed its course by asking such questions as: What is the meaning of good? or, What are the characteristics which anything must have in order to be good? or even, What things are good? The idea of (...) right was generally regarded as subordinate, and it was perhaps more often implied than stated that an action was right if by it something good was realized. (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. (shrink)

The solitary language user is again stalking the critical fields of Europe . This pre-social individual, abstracted from all social and historical context, has been seemingly revived after what many of us saw as a death-blow dealt by Wittgenstein in his analysis of the notion of following a rule , and his related discussions bringing out the impossibilities of a ‘private’ language—what has come to be known as Wittgenstein's ‘private language argument’. Just what a ‘private language’ is has become the (...) issue. Did Wittgenstein show that language-use and rule-following essentially and necessarily involved others, and were therefore necessarily social in character ? Or did his arguments bear only against the notion of a language which was essentially and necessarily private, one which could not in principle be taught to another? (shrink)

It has been suggested that the measuring apparatus used to measure quantum systems ought to be idealized as consisting of an infinite number of quantum systems. Let us call this the infinity assumption. The suggestion that we ought to make the infinity assumption has been made in connection with two closely related but distinct problems. One is the problem of determining the importance of the limitations on measurement incorporated into the Wigner-Araki-Yanase quantum theory of measurement. The other is the measurement (...) problem. These problems are not internal to the quantum mechanical formalism. They arise when we obtain particular formal results in applying the quantum mechanical formalism to measurement interactions. The formal results are problematic because they resist explanation. Various authors have claimed that by making the infinity assumption we can neglect the limitations on measurement. Bub (1988) and (1989) claims it allows us to solve the measurement problem. I will argue that both claims are unjustified. (shrink)

René Girard stands as one of the most fascinating figures in the study of violence and religion. As a thinker, theorist, and theologian, his contribution to literary and cultural theory is indicative of his profound ability to see beyond societal phenomena into the very mechanizations of human existence. Historians, economists, philosophers, psychologists, and even neuroscientists have followed Girard's lead and stepped into the waters of mimetic theory in order to surf the waves of such concepts as desire, imitation, and violence. (...) Yet amid the number of articles, monographs, and anthologies produced by Girard and his colleagues in the Academy, only a few scholars have struck out further into the open seas of... (shrink)