In the United States, prohibitionist policies are used as the primary approach to combat the negative effect of substance use on society. An extensive academic literature spanning the disciplines of economics, political science, and multiculturalism documents the great social costs of the United States’ “War on Drugs” both nationally and internationally. These costs come with at best marginal effect on substance abuse and other crimes linked to the drug trade. In many cases, there is a reason to believe that these (...) policies exacerbate the problems they aim to address. This article explores psychologists’ ethical commitments to social change concerning such drug policy, given the field of psychology’s expanding commitment to social justice. We examine arguments regarding the boundaries between psychologists’ personal and professional ethics with regard to political participation. Using drug prohibition as an exemplar, we suggest that many psychologists’ political actions and professional ethics may be misaligned. Ultimately, we conclude that the endorsement of prohibitionist drug policies is in direct conflict with the guiding ethical principles put forth by the American Psychological Association’s Ethical Principles of Psychologists and Code of Conduct. (shrink)

Background: Transgender health care is a subject of much debate among clinicians, political commentators, and policy-makers. While the World Professional Association of Transgender Health (WPATH) Standards of Care (SOC) establish clinical standards, these standards contain implied ethics but lack explicit focused discussion of ethical considerations in providing care. An ethics chapter in the SOC would enhance clinical guidelines. Aims: We aim to provide a valuable guide for healthcare professionals, and anyone interested in the ethical aspects of clinical support for gender (...) diverse and transgender people of all ages. Recognizing that the WPATH is a global association, we address broad challenges. We offer a reflection on general ethical principles, providing conceptual tools for healthcare providers, patients, and families to navigate the specific challenges they might encounter in transgender health care, in line with WPATH’s worldwide mission and scope. Method: This article employs a descriptive analysis, and our framework of reference is the four principles of biomedical ethics: respect for autonomy, beneficence, nonmaleficence, and justice. Results: The article presents a discussion on the four ethical principles as applied to transgender health care. We address issues such as respect for patient autonomy in decision-making, the role of beneficence and nonmaleficence in clinical interventions, and the importance of justice in equitable treatment and access to care. Some of the ethical concerns we address in this article pertain to the current sociopolitical climate, where there has been increasing legal interference, internationally, for transgender and nonbinary people, particularly youth, seeking medical care. Discussion: We highlight the interplay between ethical principles and clinical practice, underscoring the need for ethical guidance in addressing the diverse challenges faced by healthcare providers and patients in transgender health care. We advocate for continuous refinement of ethical thinking to ensure that transgender health care is not only medically effective but also ethically sound. (shrink)

This paper critically examines several game theoretic interpretations of Hobbes' state of nature, including Prisoner's Dilemma and Assurance Game, and argues instead that the best matrix is that of a combination of the two, an Assurance Dilemma. This move is motivated by the fact that Hobbes explicitly notes two distinct personality types, with different preference structures, in the state of nature: dominators and moderates. The former play as if in a Prisoner's Dilemma, the latter play as if in an Assurance (...) Game. But when meeting one another, the Assurance Dilemma represents their differing strategies, and can explain various other features of Hobbes' state of nature, as well as a key informational role played the Sovereign. (shrink)

We respond to a Letter to the Editor regarding "Principlism and contemporary ethical considerations for providers of transgender health care." We address criticisms by Castle & Klein (2024) of blatant fatphobia related to the ethical elements concerning BMI restrictions for gender-affirming surgery. Our response corrects several mischaracterizations of the article and clarifies our position. My co-authors and I remain focused on advocating for patient-centered, ethically sound, evidence-based, and equitable healthcare policies.

Hegel and Canada is a collection of essays that analyses the real, but under-recognized, role Hegel has played in the intellectual and political development of Canada. The volume focuses on the generation of Canadian scholars who emerged after World War Two: James Doull, Emil Fackenheim, George Grant, Henry S. Harris, and Charles Taylor.

Tobacco mosaic virus has served as a model organism for pathbreaking work in plant pathology, virology, biochemistry and applied genetics for more than a century. We were intrigued by a photograph published in Phytopathology in 1934 showing that Tabasco pepper plants responded to TMV infection with localized necrotic lesions, followed by abscission of the inoculated leaves. This dramatic outcome of a biological response to infection observed by Francis O. Holmes, a virologist at the Rockefeller Institute for Medical Research, was used (...) to score plants for resistance to TMV infection. Our objective was to gain a better understanding of early to mid-twentieth century ideas of genetic resistance to viruses in crop plants. We investigated Holmes’ observation as a practical exercise in reworking an experiment, having been inspired by Pamela Smith’s innovative Making and Knowing Project. We had a great deal of difficulty replicating Holmes’ experiment, finding that biological materials and experimental customs change over time, in ways that ideas do not. Using complementary tools plus careful study and interpretation of the original text and figures, we were able to rework, yet only partially replicate, this experiment. Reading peer-reviewed manuscripts that cited Holmes’ 1934 report provided an additional level of insight into the interpretation and replication of this work in the decades that followed. From this, we touch on how experimental reworking can inform our strategies to address the reproducibility “crisis” in twenty-first century science. (shrink)

At the forefront of international concerns about global legislation and regulation, a host of noted environmentalists and business ethicists examine ethical issues in consumption from the points of view of environmental sustainability, economic development, and free enterprise.

Theories of consciousness have a long and controversial history. One well-known proposal — integrated information theory — has recently been labeled as ‘pseudoscience’, which has caused a heated open debate. Here we discuss the case and argue that the theory is indeed unscientific because its core claims are untestable even in principle.

Strawson (1994) and Peacocke (1992) introduced thought experiments that show that it seems intuitive that there is, in some way, an experiential character to mental events of understanding. Some (e.g., Siewert 1998, 2011; Pitt 2004) try to explain these intuitions by saying that just as we have, say, headache experiences and visual experiences of blueness, so too we have experiences of understanding. Others (e.g., Prinz 2006, 2011; Tye 1996) propose that these intuitions can be explained without positing experiences of understanding. (...) Call this the debate between Realism and Anti-Realism about experiences of understanding. This paper aims to advance that debate in two ways. In the first half, I develop more precise characterizations of what Realists and Anti-Realists propose. In the second half, I distinguish the four most plausible versions of Anti-Realism and argue that Realism better explains the target intuition than any of them does. (shrink)

The introduction of genes into plants encoding potent antibacterial proteins, derived from insects, may significantly augment the level of their resistance to bacterial disease. Using modern techniques, genes of choice can be introduced into plant tissue and this tissue can be manipulated to produce viable plants. The potato has been chosen as the model system, not only because of its plasticity of development, which allows for the relatively easy regeneration of whole plants from transformed tissue, but also because the potato (...) ranks among the top four plants in the world in terms of economic importance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 317 On the Nature and Existence of God. By RICHARD M. GALE. Cambridge and New York: Cambridge University Press, 1991. Pp. 422 + viii. $44.50 (hardbound). Is there a rational justification for believing that God, as understood by traditional Western theism, exists? Richard M. Gale uses the tools of analytic philosophy to address some aspects of this question. He intentionally avoids any discussion of inductive arguments which (...) would try to show that the existence of God is the " only possible explanation " of some observable feature of the universe, and concentrates instead on arguments which more generally discuss whether or not belief in God is rationally justified (pp. 3, 241). His book is in some ways a response,to philosophers such as William Alston and Alvin Plantinga who have used analytic philosophy in defense of the theistic claim that God exists. Gale offers a more sbptical account of the ability of reason to justify belief in God. He views his work as beneficial to theism, however, in that it may lead believers to adopt a conception of God which is " more adequate " for inspiring worship and obedience than the traditional notion (p. 3). Before considering " theological arguments " in favor of the existence of God, Gale analyses a number of " atheological " arguments against it. The arguments fall into two categories, epistemological and pragmatic. Epistemological arguments are concerned with justifying any claim to knowledge that God does or does not exist. Pragmatic arguments try to show that belief (or disbelief) in the existence of God is justified by the moral benefits that accrue from it. With the exception of the last chapter, the entire book is devoted to epistemological arguments. Gale views his atheological arguments as " thought experiments " which test the internal consistency of the traditional understanding of various divine attributes and so lead us to improve the logical consistency of our understanding of God. When the traditional under· standing of some divine attribute is shown to involve logical incongruities, the theist is invited to go " back to the drawing board and redesign the particular divine attribute that is the focus of the argument " (p. 3). Atheological arguments are presented first so that the redesigned divine attributes can inform the subsequent analysis of theological arguments in favor of God's existence. Gale is willing to redesign a good number of divine attributes on the basis of often familiar and sometimes rather shaky atheological arguments. The traditional understanding of divine omnipotence, for in· stance, is tested in Chapter 1, using Gale's version of the well known 318 BOOK REVIEWS dilemma of whether an omnipotent God could create a stone so heavy that God could not lift it. Since it is necessary that God ls omnipotent and since it is necessary that an omnipotent being can do anything, it is necessary that God can do anything. Thus, " it is necessary that God can create a stone so heavy that God cannot lift it." But if it is necessary that God can create a stone so heavy that God cannot lift it, then it is possible that there is something that God cannot do. So it is not necessary that God can do anything. Thus we come to the contradiction that it is both necessary and not necessary that God can do anything (p. 18). Gale sees that his premise, " it is necessary that God can create a stone so heavy that God cannot lift it," itself involves a self-contradiction and is equivalent to saying that the omnipotent God can act in such a way that the omnipotent God is simultaneously not the omnipotent God (20). What he fails to see is that attributing to God any action that falls short of perfect activity (e.g., immoral action) involves the same self-contradiction. Nor does he seem to realize that self-contradictory statements of this sort are simply nonsensical. Being devoid of meaning, they can tell us nothing about what God can or cannot do, and so in no way require us to restrict or qualify God's omnipotence. Not seeing the senselessness of self-contradictory statements, Gale embarks on a program of reforming or qualifying the traditional notion of divine omnipotence... (shrink)

Cartesian skepticism about epistemic justification (‘skepticism’) is the view that many of our beliefs about the external world – e.g., my current belief that I have hands – aren’t justified. I examine the two most influential arguments for skepticism – the Closure Argument and the Underdetermination Argument – from an evidentialist perspective. For both arguments it is clear which premise the anti-skeptic must deny. The Closure Argument, I argue, is the better argument in that its key premise is weaker than (...) the Underdetermination Argument’s key premise. However, it’s also likely that the motivation for accepting both key premises is exactly the same. So there may be a sense in which both arguments provide exactly the same motivation for skepticism. Then I argue that if I I’m right about what the motivation for accepting the arguments’ key premises is, then neither argument succeeds in providing a good reason to accept skepticism. I conclude by explaining why I think epistemologists are right to expend a lot of time and effort on refuting these arguments, even if neither argument provides any motivation for skepticism. (shrink)

Mr. G. S. Kirk's interesting and illuminating treatment of this curious fragment in CQ,. xliv , pp. 149–57, prompts me to offer some further conjectures on the reading and interpretation of lines 15–23, on the character of the fragment as a whole. I am indebted for valuable help both to Mr. Kirk himself and to Mr. C. H. Roberts.

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

If one flips an unbiased coin a million times, there are 2 1,000,000 series of possible heads/tails sequences, any one of which might be the sequence that obtains, and each of which is equally likely to obtain. So it seems (1) 'If I had tossed a fair coin one million times, it might have landed heads every time' is true. But as several authors have pointed out, (2) 'If I had tossed a fair coin a million times, it wouldn't have (...) come up heads every time' will be counted as true in everyday contexts. And according to David Lewis' influential semantics for counterfactuals, (1) and (2) are contradictories. We have a puzzle. We must either (A) deny that (2) is true, (B) deny that (1) is true, or (C) deny that (1) and (2) are contradictories, thus rejecting Lewis' semantics. In this paper I discuss and criticize the proposals of David Lewis and more recently J. Robert G. Williams which solve the puzzle by taking option (B). I argue that we should opt for either (A) or (C). (shrink)

The World Anti-Doping Code (2021) includes a substance on the prohibited list if it meets at least two of the following: (1) it has the potential to enhance or enhances sport performance; (2) it represents an actual or potential health risk to the athlete; (3) it violates the spirit of sport. This paper uses a case study to illustrate points of tension between this code and enhancements that are appropriate to ban; we argue that there are banned drugs (e.g., acetazolamide (...) and dexamethasone) the use of which we have good reason to not only permit but encourage for high-altitude sports. Drawing on lessons from this case study, we propose a reformulation of the Code that requires (1–3) be met but offers preferable ways of unpacking conditions (1) and (3) – and in a way that better preserves how the spirit of sport condition should be indexed to particular sports. Our formulation is inclusive enough to rule in drugs like acetazolamide and dexamethasone as permissible in high-altitude sports while at the same time ruling out problem cases – including many drugs already on the prohibited list. The result is an attempted alignment between the conditions specified and those drugs that should be banned. (shrink)

We show that from a supercompact cardinal $\kappa$, there is a forcing extension $V[G]$ that has a symmetric inner model $N$ in which $\mathrm {ZF}+\lnot\mathrm {AC}$ holds, $\kappa$ and $\kappa^{+}$ are both singular, and the continuum function at $\kappa$ can be precisely controlled, in the sense that the final model contains a sequence of distinct subsets of $\kappa$ of length equal to any predetermined ordinal. We also show that the above situation can be collapsed to obtain a model of $\mathrm (...) {ZF}+\lnot\mathrm {AC}_{\omega}$ in which either $\aleph_{1}$ and $\aleph_{2}$ are both singular and the continuum function at $\aleph_{1}$ can be precisely controlled, or $\aleph_{\omega}$ and $\aleph_{\omega+1}$ are both singular and the continuum function at $\aleph_{\omega}$ can be precisely controlled. Additionally, we discuss a result in which we separate the lengths of sequences of distinct subsets of consecutive singular cardinals $\kappa$ and $\kappa^{+}$ in a model of $\mathrm {ZF}$. Some open questions concerning the continuum function in models of $\mathrm {ZF}$ with consecutive singular cardinals are posed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 861 acter as to demand and thus warrant the sort of special explanation proposed by the theist. Along the way, we are treated to illuminating discussions of many fascinating and controversial issues, such as the need for a priori probability assignments in science and metaphysics. Chapter six offers a novel defense of Pascal's Wager arising out of the Anselmian concept of God endorsed at the beginning of (...) the hook. Thus a bond is forged between one of the most purely theoretical and one of the most pragmatic ideas in the history of philosophical reflection on religious belief. Schlesinger's defenses of the Wager against numer· ous criticisms are, characteristically, original, engaging, and philosoph· ically stimulating. The final chapter of this hook grapples with the issue of whether a world such as ours, in which individuals seem to he far from equal in religious insight and ability to respond to the divine, can he com· patible with God's being perfectly fair and just. Drawing on some elementary aspects of epistemic logic, Schlesinger first seeks to under· mine the position of the agnostic who claims to he well-informed, well· disposed to fair judgment, and to he in a state of rationally refraining to endorse either theism or atheism. In the course of the argument, he attempts to show how merely understanding theism can increase one's inclination to endorse it, and he traces out various entailments of the traditional idea of God for the issue of how clear evidence of God's existence must he in this world to one who is truly well-disposed toward seeing it. All in all, this is a highly original, provocative hook which should he read and grappled with by all who work in the field of its concern, the philosophy of religion. It should spark debate and enhance the level of reflection about its chosen topics for years to come. It will surely not command agreement at every point, hut it will inevitably stimulate further thought. The University of Notre Dame Notre Dame, Indiana THOMAS v. MORRIS God in History: Shapes of Freedom. By PETER C. HODGSON. Nashville: Abingdon Press, 1989. Pp. 287. $21.95 {cloth). Is it still possible in our postmodern age to speak intelligibly about God's presence and action in human history? Peter Hodgson's discus· sion of this " most difficult of modern theological questions " leads us over the " labyrinthine abyss " of Derrida's deconstructionism, through the " cognitive purgatory " of the postmodern crisis, to the affirmation 36~ BOOK REVIEWS that " God and history are conjoined at the point of... free, liberating, emancipatory, transfigurative praxis..." (147, 162-3, 191). After explaining the inadequacy of the classical model of salvation history (Chapter I), Hodgson develops his approach to the problem around the three central ideas of God (Chapter II), history (Chapter III), and freedom (Chapter IV). A concluding epilogue brings together Hodgson's understanding of the presence of God in history and of the eschatological presence of history in God. Throughout the hook there is a dialogue with and a critique of various postmodern thinkers who question the very notions of God, history, and freedom (162). In postmodern thought, history is a series of mere human constructions-figments of human imagination which need to he "deconstructed." Descriptions of God's action in history dissolve into a "self-referential interplay of signs-an endless milieu of significations that refers to nothing other than itself" {37). In response to postmodernism, Hodgson follows neither the way of " absolutism " by seeking to return to " orthodox doctrine and confessional tradition " nor the way of relativism by pretending that nothing can he " known, believed, or acted upon." He rather points the way to " revision," to "retrieving and rethinking the deconstructed tradition" (29). The thought of G. W. F. Hegel and Ernst Troeltsch are his consistent tools in this work of revision, and the many years he has spent in preparing a critical edition and translation of Hegel's Lectures on the Philosophy of Religion provide him with an admirable expertise in using these tools (8, 147). The revision involves a reconstruction or sublation (Aufhebung) of the traditional understanding of God's presence in salvation... (shrink)

Hegel has had a remarkable, yet largely unremarked, role in Canada's intellectual development. In the last half of the twentieth-century, as Canada was coming to define itself in the wake of World War Two, some of Canada's most thoughtful scholars turned to the work of G.W.F. Hegel for insight. Hegel and Canada is a collection of essays that analyses the real, but under-recognized, role Hegel has played in the intellectual and political development of Canada. The volume focuses on the generation (...) of Canadian scholars who emerged after World War Two: James Doull, Emil Fackenheim, George Grant, Henry S. Harris, and Charles Taylor. These thinkers offer a uniquely Canadian view of Hegel's writings, and, correspondingly, of possible relations between situated community and rational law. Hegel provided a unique intellectual resource for thinking through the complex and opposing aspects that characterize Canada. The volume brings together key scholars from each of these five schools of Canadian Hegel studies and provides a richly nuanced account of the intellectually significant connection of Hegel and Canada. (shrink)

The challenge to decolonise academic disciplines has been pertinent for many decades, but it has recently come to a new level of prominence, with vigorous discussion of what responding to this challenge might entail. This article explores what it might mean as an ethical challenge in the discipline of New Testament studies, using examples to illustrate two key (and related) tasks: the ‘parochialisation’ of European approaches to the discipline, and the paying of attention to perspectives from elsewhere in the world. (...) After a brief introduction to the decolonial challenge, there follows a brief survey of changing perspectives on the tasks of biblical studies, beginning with Johann Phillip Gabler's influential lecture from 1787, then C.H. Dodd's 1936 inaugural lecture, through to the more recent assessments of Markus Bockmuehl and Martin Hengel. This is followed by a survey of works of New Testament Introduction, moving from the classic work of Werner Georg Kümmel to the very recent Asian Introduction to the New Testament, edited by Johnson Thomaskutty. Finally, in light of these surveys, this article offers some reflections on decolonisation and the future(s) of New Testament studies. These reflections may suggest both parallels for the discipline of Christian ethics, and implications for the nature of the relationship between biblical studies and Christian ethics. (shrink)

_Winner of the Fabian Dorsch ESA Essay Prize._ Julian Dodd defends the view that, in musical work-performance practice, interpretive authenticity is a more fundamental value than score compliance authenticity. According to him, compliance with a work’s score can be sacrificed in cases where it conflicts with interpretative authenticity. Stephen Davies and Andrew Kania reject this view, arguing that, if a performer intentionally departs from a work’s score, she is not properly instantiating that work and hence not producing an authentic (...) performance of it. I argue that this objection fails. A detailed analysis of work-performance practice reveals, first, that the normative scope of interpretive authenticity encompasses the practice of composing musical versions and that, second, when performers sacrifice score compliance to maximize interpretive authenticity, they are performing the target work by means of performing a version of it. By means of the nested types theory, I then show how performances produced in this way can be properly formed instances, and hence authentic performances, of their target work. (shrink)

Chancy counterfactuals are a headache. Dylan Dodd (2009) presents an interesting argument against a certain general strategy for accounting for them, instances of which are found in the appendices to Lewis (1979) and in Williams (2008). I will argue (i) that Dodd’s understates the counterintuitiveness of the conclusions he can reach; (ii) that the counterintuitiveness can be thought of as an instance of more general oddities arising when we treat vagueness and indeterminacy in a classical setting; and (iii) (...) the underlying source of discontent which animates Dodd’s complains is to be found in a certain general constraint one might impose on conditionals—what I’ll call the counterfactual Ramsey bound. Unfortunately, the counterfactual Ramsey bound is just as problematic as its famous indicative cousin. The moral is that there’s no comfortable resting place in this area; for violations of the counterfactual Ramsey bound are going to lead to prima facie surprising results. (shrink)

Recent research indicates that compensation structure can be used by firms to discourage their employees from whistleblowing. We extend the ethics literature by examining how compensation structures and financial rewards work together to influence managers’ decisions to blow the whistle. Results from an experiment indicate that compensation with restricted stock, relative to stock payments that lack restrictions, can enhance the likelihood that managers will blow the whistle when large rewards are available. However, restricted stock can also threaten the effectiveness of (...) whistleblowing systems without the presence of large financial rewards for whistleblowing. Thus, the large potential rewards for whistleblowing enacted by the Dodd–Frank Act appear timely as firms are moving toward compensation agreements that include greater proportions of restricted stock. (shrink)

G.E. Moore's philosophical legacy is ambiguous. On the one hand, Moore has a special place in the hearts of many contemporary analytic philosophers. He is, after all, one of the fathers of the movement, his broadly commonsensical methodology informing how many contemporary analytic philosophers practise their craft. On the other hand, many contemporary philosophers keep Moore's own substantive positions at arm's distance. According to many epistemologists, one can find no finer example of how to beg the question than Moore's case (...) against the sceptic. And, according to many moral philosophers, one can find no more vivid case of philosophical extravagance than Moore's non-naturalism. Given this ambiguity, one wonders: How should we assess Moore's legacy in epistemology and ethics – the two areas of philosophy in which Moore did most of his work?That is the task of this welcome collection of 16 essays. The list of contributors to the book is impressive: Crispin Wright, Ernest Sosa, Ram Neta, William Lycan, C.A.J. Cody, Paul Snowdon, Michael Huemer and Roy Sorenson consider Moore's work in epistemology. Stephen Darwall, Terry Horgan, Mark Timmons, Richard Fumerton, Charles Pigden, Robert Shaver, Joshua Gert, Jonathan Dancy and the editors of the book explore Moore's views in ethics. As one might expect, given this list of contributors, the quality of the essays is very high. Moreover, there is a decidedly constructive tone to many of them. While not willing to overlook Moore's mistakes, many of the essays endeavour to explore what is valuable in Moore's thought, critically engaging with positions that, not too long …. (shrink)

G.E. Moore's philosophical legacy is ambiguous. On the one hand, Moore has a special place in the hearts of many contemporary analytic philosophers. He is, after all, one of the fathers of the movement, his broadly commonsensical methodology informing how many contemporary analytic philosophers practise their craft. On the other hand, many contemporary philosophers keep Moore's own substantive positions at arm's distance. According to many epistemologists, one can find no finer example of how to beg the question than Moore's case (...) against the sceptic. And, according to many moral philosophers, one can find no more vivid case of philosophical extravagance than Moore's non-naturalism. Given this ambiguity, one wonders: How should we assess Moore's legacy in epistemology and ethics – the two areas of philosophy in which Moore did most of his work?That is the task of this welcome collection of 16 essays. The list of contributors to the book is impressive: Crispin Wright, Ernest Sosa, Ram Neta, William Lycan, C.A.J. Cody, Paul Snowdon, Michael Huemer and Roy Sorenson consider Moore's work in epistemology. Stephen Darwall, Terry Horgan, Mark Timmons, Richard Fumerton, Charles Pigden, Robert Shaver, Joshua Gert, Jonathan Dancy and the editors of the book explore Moore's views in ethics. As one might expect, given this list of contributors, the quality of the essays is very high. Moreover, there is a decidedly constructive tone to many of them. While not willing to overlook Moore's mistakes, many of the essays endeavour to explore what is valuable in Moore's thought, critically engaging with positions that, not too long …. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rhetoric of Parody in Plato's MenexenusFranco V. TrivignoIn Plato's Menexenus, Socrates spends nearly the entire dialogue reciting an epitaphios logos, or funeral oration, that he claims was taught to him by Aspasia, Pericles' mistress. Three difficulties confront the interpreter of this dialogue. First, commentators have puzzled over how to understand the intention of Socrates' funeral oration (see Clavaud 1980, 17–77).1 Some insist that it is parodic, performing an (...) essentially critical function (e.g., Loraux 1986); while others claim that it is serious, in particular as an expression of Plato's political ideal (e.g., Kahn 1963).2 Adherents on both sides seem to think that the options are mutually exclusive.3 Second, commentators have had difficulty understanding why Plato would have Socrates attribute his entire oration to Aspasia (e.g., Coventry 1989, 3; Pownall 2004, 60). Most agree that this move is ironic and that it has something to do with the alleged target of the dialogue's criticism. But scholars have differed over whether the Aspasia reference is meant to implicate Pericles' funeral oration (Monoson 1998), rhetoric in general (Pownall 2004), Athens (Loraux 1986), or even Aeschines (Clavaud 1980).4 Third, scholars have struggled to make sense of the dialogue's "deliberate and fantastic anachronism" (Dodds 1990, 24). In the funeral oration, Socrates relates the history of Athens up to the King's Peace in 386 B.C., a full thirteen years after he has died. This problem has generated the least consensus, with some scholars restricting their analysis [End Page 29] to dating considerations (e.g., Dodds 1990) and at least one speculating that Socrates speaks in this dialogue as a ghost (Rosenstock 1994).5It is the contention of this article that, by understanding the rhetoric of parody in the Menexenus, one can resolve these difficulties and come to a coherent and unified understanding of the philosophical intentions of the dialogue.6 More specifically, I will show that the anachronism is a consequence of a particular parodic strategy, that of amplification; that the dialogue's parody targets not only Pericles' funeral oration in particular but funeral oratory, rhetoric, and Athens as well; and that the parody has serious philosophical implications.7 Further, I claim that the serious philosophical content is both critical and constructive. Plato subverts the civic identity and understanding of virtue encouraged by the genre of funeral oration, and he challenges its praise-based model of political discourse. At the same time, Plato's parodic criticism is not entirely negative, for it relies on alternative paradigms of civic identity, virtue, and political discourse.I. The Rhetoric of ParodyBefore turning to the Menexenus itself, I want to clarify what I mean by parody. For a working definition, I suggest that parody is "an imitation that distorts a target text, author, or genre."8 In order to make some general observations about the rhetoric of parody, I will look briefly at an exemplar of parody from Aristophanes' Frogs. I do so for three reasons: to display two strategies of parodic distortion, to show that parody can have multiple targets, and to argue that parody can have both serious and complex intentions.9In the Frogs (1331–63), Aristophanes uses at least two techniques of parodic distortion, inversion and amplification, in his extended parody of Euripides' monodies or single-actor odes.10 Parodic inversion, broadly speaking, upsets or overturns the target text by distorting the original in a way that reverses the stylistic effect or semantic intention. Parodic amplification hones in on one aspect of the target text and amplifies it to absurdity, often exposing its artificiality as a literary trope.The parodic scene features a woman who awakens, hysterical and terrified, from a god-sent dream, which has conveyed disturbing news. We find in this passage a particular kind of parodic inversion: bathos, the unexpected introduction of the vulgar, ordinary, or mundane, which undermines an otherwise somber tone.11 Consider the following excerpt:Attendants, set alight a lamp for me,Collect the dew of rivers in pitchers [End Page 30] And heat the water,So that I may wash away the god-sent dream.Oh god of the sea... (shrink)

Kit Fine (2000) breaks with tradition, arguing that, pace Russell (e.g., 1903: 228), relations have neither directions nor converses. He considers two ways to conceive of these new "neutral" relations, positionalism and anti-positionalism, and argues that the latter should be preferred to the former. Cody Gilmore (2013) argues for a generalization of positionalism, slot theory, the view that a property or relation is n-adic if and only if there are exactly n slots in it, and (very roughly) that each (...) slot may be occupied by at most one entity. Slot theory (and with it, positionalism) bears the full brunt of Fine's (2000) symmetric completions and conflicting adicities problems. I fully develop an alternative, plural slot theory (or pocket theory), which avoids these problems, key elements of which are first considered by Yi (1999: 168 ff.). Like the slot theorist, the pocket theorist posits entities (pockets) in properties and relations that can be occupied. But unlike the slot theorist, the pocket theorist denies that at most one entity can occupy any one of them. As a result, she must also deny that the adicity of a property or relation is equal to the number of occupiable entities in it. By abandoning these theses, however, the pocket theorist is able to avoid Fine's problems, resulting in a stronger theory about the internal structure of properties and relations. Pocket theory also avoids a serious drawback of anti-positionalism. (shrink)

The ethics of the Egyptian religion, by S. A. B. Mercer.--The ethics of Confucianism, by H. P. Beach.--The ethics of the Babylonian and Assyrian religion, by G. A. Barton.--The history of Hindu ethics, by E. W. Hopkins.--The ethics of Zoroastrianism, by A. V. W. Jackson.--Early Hebrew ethics, by L. B. Paton.--The ethics of the Hebrew prophets - from Amos to the Deuteronomic reformation, by L. B. Paton.--The ethics of the Greek religion, by P. Shorey.--The ethics of the Gospels, by E. (...) F. Scott.--The ethics of the Pauline epistles, by C. H. Dodd.--Moslem ethics, by J. C. Archer.--The moral values of religion, by E. H. Sneath. (shrink)

Drawing on a scene in J.M.G. Le Clézio's novel Terra Amata, which tells the story of the instincts of a small boy, the minute sensoria of some bugs and a cosmic catastrophe, this essay demonstrates the ambivalence around insects in animal studies, their contingent location in psychoanalysis and the conundrums they place in ethical philosophy. By reading Le Clézio's tale through Uexküll, Freud, Dodds and Stengers we argue for more nuanced, imbricated and critical connections between ethology, psychoanalysis and ethics. These (...) connections become imperatives in the face of the current environmental crisis, where we urgently need to attend to co-affecting relations that are too distant or proximate, tiny or vast to register as familiar sentient states or ethical feelings. In the process we demonstrate the performative dimensions of what we call the entomological imagination – present in the strange proximity of child and bugs, the powerful unthinking god, the indifference of the insects to human commands, and the infinitesimal catastrophe in Le Clézio's story – that facilitates an epistemic fluidity required for a contemporary understanding of ecologies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hope Draped in Black: Decolonizing Utopian StudiesCaroline Edwards (bio)What does utopian studies have to learn from critical race theory, Black studies, and ideas of Black futurity? While utopian scholars have begun unpicking the colonial entanglements of utopianism’s origins (particularly as a literary genre grounded in pelagic crossings to the New World that have advocated slavery, extractivism, and eugenics to name a few notable examples across the utopian canon), few, (...) if any, have incorporated the perspectives, aesthetics, and theoretical work of Black scholars themselves.1 The following are a few brief remarks organized around keywords (in a nod to Raymond Williams, a fierce advocate of utopian thinking) that attempt to sketch an answer to these questions, with a focus on my own area of utopian study: utopian literary and cultural production in the contemporary period.ProgressWe might start by considering the literary utopia’s most prolific period, from roughly 1880 to 1915. In a deluge of utopian narratives, many of them penned by amateur writers, we find the emergence of a genre that is thoroughly [End Page 498] rooted in industrialized progress. Whatever their perspective on capitalism and waged labor, these works privilege advanced industrialization as the primary means to eliminate poverty and disease, thereby liberating workers into automated futures of post-scarcity abundance. Examples include Edward Bellamy’s highly rationalized system of pneumatic delivery (Looking Backward: 2000–1887 [1888]), Mary E. Bradley Lane’s chemical production of food from waste products (Mizora: A World of Women [1890] 1999), H. G. Wells’s titanic hydro-powered engineering (Men Like Gods [1923]), Edward Bulwer Lytton’s lithic limitless energy, Vril (The Coming Race [1871]), or the ubiquitous electricity that powers Elizabeth Burgoyne Corbett’s clean city (New Amazonia: A Foretaste of the Future [1899] 2011), Alice Ilgenfritz Jones and Ella Marchant’s advanced Martian society (Unveiling a Parallel: A Romance [1893]), and Alexander Bogdanov’s advanced scientific culture on the red planet (Красная звезда [Red Star (1908) 1984]). Indeed, many notable dystopian novels begin with the same premise of highly automated societies that focus, rather, on the awfulness of life without purpose (Anna Bowman Dodd’s The Republic of the Future; Or, Socialism a Reality [1887], E. M. Forster’s “The Machine Stops” [1909], Kurt Vonnegut’s Player Piano [1952]). While they are far from uncritical of the telos of historical progress (most of the works highlight the class and gender inequalities of their own time), utopian novels in this period tend to view the utopian process as one of harnessing historical progress in a more equitable direction; they rarely question the Hegelian premise that history moves through contradictory forces in a dialectical series of stages.In his 2016 book Hope Draped in Black, Joseph R. Winters explores the lasting damage that ideas of historical progress have wrought on Black writers, artists, and thinkers. While notions of racial uplift are loaded with a linear narrative of Black progress such conceptions, he writes, “are mediated by melancholy, loss, and a recalcitrant sense of tragedy” (6–7). Building on Adorno and Horkheimer’s landmark critique in Dialectic of Enlightenment (1944) as well as the works of W. E. B. Du Bois, Winters notes thatmodern notions of progress and freedom are inherently flawed and problematic because they rely on and are intertwined with practices and conditions—capitalism, colonial expansion, racial hierarchies, endeavors, and incentives to usurp and possess that earth—that are harmful to non-Europeans, working-class bodies, women, and other groups.(2016, 8) [End Page 499]Examining the relationship between melancholy and hope in Black literary and aesthetic traditions, Winters explores how writers such as Toni Morrison and Ralph Ellison incorporate jazz into their works, using its discordant, improvisational structures to imagine time out of joint (the Derridean deferral of justice announced by the arrival of the specter of old King Hamlet, who returns) (Derrida 1994). Here, Winters writes, “the past can always haunt and disturb the present [so that] the present is always a site of potential breaks and ruptures that can signify both dislocation and pain as well as novelty and possibility” (2016, 25). If we are to contemplate the almost overwhelming task of decolonizing utopian studies, then... (shrink)

We work with symmetric extensions based on Lévy collapse and extend a few results of Apter, Cody, and Koepke. We prove a conjecture of Dimitriou from her Ph.D. thesis. We also observe that if V is a model of $$\textsf {ZFC}$$ ZFC, then $$\textsf {DC}_{<\kappa }$$ DC < κ can be preserved in the symmetric extension of V in terms of symmetric system $$\langle {\mathbb {P}},{\mathcal {G}},{\mathcal {F}}\rangle $$ ⟨ P, G, F ⟩, if $${\mathbb {P}}$$ P is $$\kappa (...) $$ κ -distributive and $${\mathcal {F}}$$ F is $$\kappa $$ κ -complete. Further we observe that if $$\delta <\kappa $$ δ < κ and V is a model of $$\textsf {ZF}+\textsf {DC}_{\delta }$$ ZF + DC δ, then $$\textsf {DC}_{\delta }$$ DC δ can be preserved in the symmetric extension of V in terms of symmetric system $$\langle {\mathbb {P}},{\mathcal {G}},{\mathcal {F}}\rangle $$ ⟨ P, G, F ⟩, if $${\mathbb {P}}$$ P is ($$\delta +1$$ δ + 1 )-strategically closed and $${\mathcal {F}}$$ F is $$\kappa $$ κ -complete. (shrink)

An engaging argument about what experimental music can tell us about being human. -/- In Experimenting the Human, G Douglas Barrett argues that experimental music speaks to the contemporary posthuman, a condition in which science and technology decenter human agency amid the uneven temporality of postwar global capitalism. Time moves forward for some during this period, while it seems to stand still or even move backward for others. Some say we’re already posthuman, while others endure the extended consequences of never (...) having been considered fully human in the first place. Experimental music reflects on this state, Barrett contends, through its interdisciplinary involvements in postwar science, technology, and art movements. -/- Rather than pursuing the human’s beyond, experimental music addresses the social and technological conditions that support such a pursuit. Barrett locates this tendency of experimentalism throughout its historical entanglements with cybernetics, and in his intimate analysis of Alvin Lucier’s neurofeedback music, Pamela Z’s BodySynth performances, Nam June Paik’s musical robotics, Pauline Oliveros’s experiments with radio astronomy, and work by Laetitia Sonami, Yasunao Tone, and Jerry Hunt. Through a unique meeting of music studies, media theory, and art history, Experimenting the Human provides fresh insights into what it means to be human. (shrink)

Boldly focusing on sexuality as a crucial definer of social order, Being and Symptom argues that there is an "M theory" -- a master theory of theories -- not only in Quantum Physics, but also in Continental Philosophy, Psychoanalysis, and Sociology, disclosing how the ontological structure of the "fantastic four" ingredients of metaphysics (potentiality, impotentiality, actuality, completion) has recurred through time. Öğüt also seeks to turn Thomas Hobbes's political philosophy into a social theory within the fields of sexuality and sovereignty (...) and to locate parallels among Aristotle, Ibn Khaldun, Kant, Hegel, Heidegger, Foucault, Lacan, Agamben, Nash, Derrida, Girard, Kristeva, and Žižek, with a special emphasis on how Žižek has adapted Lacanian psychoanalysis into social theory. Öğüt conveys a highly original analysis of the unconscious of our social (sexual) relations, subjectivities, and politics. (shrink)