Introduction: The sanctity of life and its discontents -- Our morality : selfish genes and cultural clout -- The Judeo-Christian idea : transcending our selfish genes -- The Judeo-Christian idea against genocide -- The Judeo-Christian idea against slavery -- Falling backwards : the abandonment of the Judeo-Christian idea and the return of genocide and slavery -- The rising : the Judeo-Christian idea in the post-war world -- The myth of biblical immorality -- The myth ofJudeo-Christian atrocities -- The myth of (...) enlightenment perfection -- Conclusion: Hubris and humility. (shrink)

Professor David Stewart called upon his 30 years of teaching experience to introduce readers to the important study of faith and reason. Beginning students often find primary sources alone too difficult so this text offers primary source materials by a variety of significant philosophers–including a balanced blend of classical and contemporary authors–but the materials are supported by clearly written introductions, which better prepare readers to understand the subject matter.

David Pollard's previously unpublished poem 'Francesca da Rimini'.

David Griffin and Nelson Pike recently had a spirited discussion on divine power. The essence of the discussion centered around what was labelled Premise X: “It is possible for one actual being's condition to be completely determined by a being or beings other than itself.” Pike maintains that ‘traditional’ theists have affirmed Premise X but denies that this entails that God has all the power there is and thus denies that Premise X can be considered incoherent for this reason. (...) Griffin maintains that traditional theists have as a matter of fact affirmed that God has all the power there is and then argues that, given standard Process metaphysical assumptions, to say that God has all the power there is is incoherent. Griffin succeeds in demonstrating that, given Process assumptions, God cannot determine all of the activities of any human--i.e., all of an individual’s desires, choices and actions. But Pike is primarily interested in whether God could determine all of the bodily behaviors of any given human. And to this question, Griffin gives no response. (shrink)

Blair, David Concerning David Tribe's rejoinder to my 'Science works better than that' , it's pleasing to see that there are some points on which we agree. Unfortunately he continues to make a strong and unjustified attack on the scientific community as a whole-essentially on the grounds that, of the conclusions of science that later turned out to be false, virtually all of them were at some time 'believed' by most scientists. In reply, I shall show that it (...) is his underlying framework that needs to be altered-quite radically. He does not understand what the activity of scientists is like-indeed what it has to be like, when faced with the task of extracting knowledge from the real world. (shrink)

In _Listening in the Afterlife of Data_, David Cecchetto theorizes sound, communication, and data by analyzing them in the contexts of the practical workings of specific technologies, situations, and artworks. In a time he calls the afterlife of data—the cultural context in which data’s hegemony persists even in the absence of any belief in its validity—Cecchetto shows how data is repositioned as the latest in a long line of concepts that are at once constitutive of communication and suggestive of (...) its limits. Cecchetto points to the failures and excesses of communication by focusing on the power of listening—whether through wearable technology, internet-based artwork, or the ways in which computers process sound—to pragmatically comprehend the representational excesses that data produces. Writing at a cultural moment in which data has never been more ubiquitous or less convincing, Cecchetto elucidates the paradoxes that are constitutive of computation and communication more broadly, demonstrating that data is never quite what it seems. (shrink)

David Platt believes that it may be religiously important to see God's existence as contingent. That there might have been nothing whatsoever, even though we find this conceptually impossible, points up God's contingency. The book discusses how the demands of religious adequacy may be met without recourse to divine necessity. The free gift of experience is rich with religious significance in a world without why. This probing and gentle book maintains that realization of the fragility of existence should also (...) change our domineering attitudes towards the environment. (shrink)

Explores the science and creative process behind Poe’s cosmological treatise. Silver Winner for Philosophy, 2017 Foreword INDIES Book of the Year Awards In 1848, almost a year and a half before Edgar Allan Poe died at the age of forty, his book Eureka was published. In it, he weaved together his scientific speculations about the universe with his own literary theory, theology, and philosophy of science. Although Poe himself considered it to be his magnum opus, Eureka has mostly been overlooked (...) or underappreciated, sometimes even to the point of being thought an elaborate hoax. Remarkably, however, in Eureka Poe anticipated at least nine major theories and developments in twentieth-century science, including the Big Bang theory, multiverse theory, and the solution to Olbers’ paradox. In this book—the first devoted specifically to Poe’s science side—David N. Stamos, a philosopher of science, combines scientific background with analysis of Poe’s life and work to highlight the creative and scientific achievements of this text. He examines Poe’s literary theory, theology, and intellectual development, and then compares Poe’s understanding of science with that of scientists and philosophers from his own time to the present. Next, Stamos pieces together and clarifies Poe’s theory of scientific imagination, which he then attempts to update and defend by providing numerous case studies of eureka moments in modern science and by seeking insights from comparative biography and psychology, cognitive science, neuroscience, and evolution. David N. Stamos teaches philosophy at York University in Toronto. He is the author of several books, including Darwin and the Nature of Species, also published by SUNY Press. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.3 (2003) 473-476 [Access article in PDF] Metamorphoses and Metamorphosis:A Brief Response David H. Porter Like Joseph Farrell, I found much to admire in Mary Zimmerman's Metamorphoses, 1 but I nonetheless left the theater disappointed. Given all that the play—and this production—had to offer, what was it that I looked for but did not find? Excerpts from the foreword to Cesare Pavese's Dialogues with (...) Leucò suggest an answer: What is more acutely disturbing than to see familiar stories troubled into new life?... The surest, and the quickest, way for us to arouse the sense of wonder is to stare, unafraid, at a single object. Suddenly—miraculously—it will look like something we have never seen before. 2For me, what Pavese describes did not happen in Metamorphoses: I found the play an imaginative retelling of Ovid, but I'd been hoping for a true metamorphosis. In terms of the play's most famous feature, the pool of water that serves as a central stage, I felt most of the time that figures I knew from Ovid were playing out their expected roles around and in this pool. My hope had been that this brilliant theatrical innovation might mirror a play in which Ovid's tales themselves take on liquid freedom and fluidity, plunging, as it were, into this central metaphor to emerge changed, unexpected, reborn.The distinction I draw is one I've found useful both in assessing modern versions of ancient myth for myself and in teaching such works. 3 Readers will undoubtedly vary widely as to their favorites among the growing list of such versions, but I expect most would agree that a handful, including perhaps Joyce's Ulysses, Rilke's Sonnets to Orpheus, [End Page 473] Strauss's Elektra, Yeat's "Leda and the Swan," and Picasso's "Guernica," fall into a special category: different as they are in genre, style, and approach, all strike us as works of artists who have so inhabited a myth, so made it part of themselves—and themselves part of it—that what emerges is totally their own, totally transformed: a re-creation. With each we feel that never before have we experienced the myth this way, and that never again will the myth be quite the same for us—precisely what a New York Times reviewer wrote about a version of Medea that was playing at the Classical Theater of Harlem in April 2002: "I suspect that no matter how many versions I see in the future, my perception of them all will be affected by the revelations here." 4Again, this is the sort of reaction that Metamorphoses, for all its virtues, did not elicit in me, and I would extend this exclusion to most other modern reworkings of ancient myth—among them Pavese's own Dialogues with Leucò, which, despite the penetrating insights of his foreword, strike me the same way—as charming, distinctive retellings, not revelations. The issue, I think, has to do with the depth and degree of an artist's immersion in a myth, something that goes well beyond the superficial test of how far the artist diverges from "the original." Eliot's and O'Neill's myth-based plays, for instance, or a novel like Updike's The Centaur, make radical changes in the names and settings of the ancient myths, but in contrast to Joyce's Ulysses, the changes feel artificial, incompletely realized—transpositions rather than transformations. In contrast, Odilon Redon's painting of Polyphemus as a mountainous crag from which a huge voyeuristic eye peers out springs directly from an image in the Odyssey—and yet has a nightmare quality that is indeed "like something we have never seen before." 5A musical analogy may be useful. Listeners reported that when Franz Liszt played Beethoven, he gave the impression at each performance [End Page 474] that he was creating the music anew. 6 And Edward Steuermann, Arnold Schoenberg's long-time colleague, once wrote, "Is not music, the great music, so much alive because it was... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Erictho and Demogorgon: Poetry against Metaphysics DAVID QUINT Epic without the gods? The Roman poet Lucan (39–65 ce) created a secular counter-epic inside classical epic, removing the genre’s usual pantheon of Olympian deities and replacing them with Fortune. His Bellum civile (titled De bello civili in manuscripts, alternately titled Pharsalia) a poem about the conflict between Julius Caesar and Pompey, thereby delegitimizes the emperors who succeeded the dying (...) Roman republic, including Nero, the reigning emperor of Lucan’s day.1 They are not part of a divine plan: no such plan has ever existed. In an epic where the gods are silent or refuse to speak, Pompey’s son, Sextus, anxious to know the future, has to seek other means. In Book 6, he consults the Thessalian witch Erictho about the outcome of the approaching battle in Pharsalia. She reanimates the corpse of a dead soldier on Pompey’s republican side and makes it talk (BC 6.419–830).2 Lucan’s scene of necromancy gave birth to a major antimetaphysical strain in the European literary tradition. Among others, Dante, Cervantes, Marlowe, Spenser, Goethe, and Shelley confronted this episode of the Pharsalia and pondered its implications. Erictho’s magic is a figure for poetic making itself. It turns the supernatural into theater— the divine machinery of epic exposed as a deus ex machina— and these authors’ responses to Erictho will shift from epic into dramatic forms. In place of the gods, in place of the epic visit to the underworld, particularly in place of and in response to Aeneas’s trip to the realm of the dead arion 28.2 fall 2020 2 erictho and demogorgon in the corresponding Book 6 of the Aeneid, Lucan presents Erictho’s macabre performance: human witchcraft and intimations of an alternate, eerie numen residing in the earth, a force of nature. Subsequent readers would give this latter power a name: Demogorgon.3 Lucan links republicanism and freedom to a kind of atheism and to historical contingency. He unmasks and strips the props of religion from Caesarism and monarchy. (In vain for the poet: Lucan was forced to commit suicide in 65 ce, after he was implicated in the failed Pisonian conspiracy against Nero.) Lucan desacralizes poetry itself, which here confesses its limits, which are the limits of human mortality, even as Erictho seems, however briefly, to overcome them. No, poetry cannot literally raise the dead: it is a magic trick that makes the words on the page form into images, take life, and speak to us. Lucan answers the criticisms the philosopher and theologian make to poetry by openly acknowledging the false bottom of the hat from which poetry pulls its rabbits. It has no access to a real bottom, an underworld beyond death; it is all representation.4 The philosopher and the theologian may be poets no less than he is, but they do not want to know it, too busy, perhaps, in supporting tyranny over human minds and bodies. Plato and Augustine are two such critics on either historical side of Lucan, and they help us to understand the stakes of the Roman poet’s project. Both were dissatisfied with literature and they wanted to be something more than the great rhetoricians that they were. In the Symposium, Plato demystifies the archetypal myth of poetry, the singing of Orpheus that sought to bring Eurydice back from death: the gods sent Orpheus away from Hades empty-handed and showed him the mere shadow [eidolon] of the woman he had come to seek: Eurydice herself they would not let him take, because he seemed, like the mere minstrel that he was, to be a lukewarm lover, lacking the courage to die as Alcestis died for love, and choosing rather to scheme his way, living, into Hades. And it was for this that the gods doomed him, and doomed him justly, David Quint 3 to meet his death at the hands of women. (179d)5 Behind the words of his shallowly sentimental speaker Phaedrus we can detect Plato’s familiar hostility to poetry, his objection in Book 10 of the Republic that the poet merely imitates the appearances of things and is... (shrink)

From his first publication, the Tractatus, to the posthumous publication of the Philosophical Investigations Wittgenstein draws attention to the way in which surface grammatical similarities mask underlying grammatical diversity. In the Tractatus he writes.

Despite the supreme political and economic significance of boundaries--and ongoing challenges to existing national boundaries--scant attention has been paid to their ethics. This volume explores how diverse ethical traditions understand the political and property rights reflected in territorial and jurisdictional boundaries. It is the first book to bring together thinkers from a range of traditions, both religious and secular, to discuss the ethics of boundaries. Each contributor represents a tradition's views on questions surrounding the use of boundaries to delimit property (...) and political rights. What does it mean to own something? What resources should not be privately owned? What justifies the erection of political boundaries between one people and another? How ''hard'' should such boundaries be? What rights extend to minorities within a state? Should territorial boundaries coincide with social ones? Does national autonomy have an ethical basis, or is it an aspect of modern power politics? Should we aim for a more inclusive community than that afforded by modern nation-states? Cross-chapter dialogue and a substantive conclusion draw out similarities and differences among the traditions represented, traditions that include Christianity, classical liberalism, Confucianism, international law, Islam, Judaism, liberal egalitarianism, and natural law. In addition to the editors, the contributors are Nigel Biggar, Joseph Boyle, Joseph Chan, Russell Hardin, Will Kymlicka, Loren Lomasky, Robert McCorquodale, Richard B. Miller, David Novak, Sulayman Nyang, Michael Nylan, Raul C. Pangalangan, Daniel Philpott, Jeremy Rabkin, Hillel Steiner, M. Raquibuz Zaman, and Noam J. Zohar. (shrink)

Pascoe, David The notion of stewardship is an emerging reality in the Catholic Church,1 albeit somewhat confined to some Western localities, particularly the USA, and also developing in the Australian context. While the notion is not new to the wider Christian Church, there remain questions as to the theological foundation for stewardship as a principle of Christian living in its Catholic context. There is, for example, a question of how stewardship is a lived reality for the people who are (...) the Catholic Church, when stewardship is understood as giving expression to the nature and mission of the church. If, as the Second Vatican Council teaches, the one sole purpose of the church is 'that the kingdom of God may come and the salvation of the human race may be accomplished' (GS 45), how does stewardship play a part in accomplishing this purpose? And, perhaps more importantly, there is the question what is it about stewardship in our time that presents the Church with a renewed impetus to take up its central purpose as noted in Gaudium et spes, with more deliberate vigour? (shrink)

Perhaps the best way to understand Harold Bloom's enigmatic theory of "poetic misprision" is to avoid the immanent critique altogether. It is best described, rather , as a synthesis. Bloom seems to have taken Aristotle's mimesis and linked it to Freud's concept of sublimation,1 with particular emphasis on the role that sublimation plays in "the family romance." Even if one were to hedge a bit and take into account the fact that neo-Freudian re-evaluations of orthodox psychoanalysis have succeeded in extracting (...) the purely sexual component out of the psychodynamics of sublimation, one is still left with the notion of sublimation as anxiety producing. Thus it is that, according to Bloom, the modern poet, in particular, sublimates his imitation of a strong precursor poet. Since the emphasis today is on desexualizing libido, Freud's original sexual vocabulary seems to have survived for its metaphorical value alone; the "unconscious fear of castration," for example, is simply a metaphor for "the poet's fear of ceasing to be a poet," a man's fear of ceasing to be a man. No matter how much we "modernize" Freud, the fact will always remain that the psychoanalytic context is the context of psychopathology: "a variety of the uncanny." · 1. See Sigmund Freud, Three Contributions to the Theory of Sex, in The Basic Writings of Sigmund Freud, ed. and trans. A. A. Brill , pp. 625-26. David D. Cooper is an associate in the department of English at the University of California, Santa Barbara. Using the critical paradigm developed in the present essay, he has written a book on Thomas Merton's poetry. See also: "Poetry, Revisionism, Repression" by Harold Boom in Vol. 2, No. 2; "Formalism, Savagery, and Care; or, The Function of Criticism Once Again" by Jerome J. McGann in Vol. 2, No. 3. (shrink)

Jacques the Fatalist is Diderot's answer to the problem of existence. Where are Jacques and his Master going? Are they simply occupying space, living mechanically until they die, believing erroneously that they are in charge of their Destiny? In the introduction to this brilliant new translation, David Coward explains the philosophical basis of Diderot's fascination with Fate and shows why Jacques the Fatalist pioneers techniques of fiction which, two centuries on, novelists still regard as experimental.

The core question behind this Frontiers research topic is whether explaining linguistic phenomena requires appeal to properties of human cognition that are specialized to language. We argue here that investigating this issue requires taking linguistic research results seriously, and evaluating these for domain-specificity. We present a particular empirical phenomenon, bound variable interpretations of pronouns dependent on a quantifier phrase, and argue for a particular theory of this empirical domain that is couched at a level of theoretical depth which allows its (...) principles to be evaluated for domain-specialization. We argue that the relevant principles are specialized when they apply in the domain of language, even if analogs of them are plausibly at work elsewhere in cognition or the natural world more generally. So certain principles may be specialized to language, though not, ultimately, unique to it. Such specialization is underpinned by ultimately biological factors, hence part of UG. (shrink)

Lectures on law presented by the author to students. The text represents a significant contribution to American legal literature & was an important text relied upon by lawyers of the day. Bibliographic Reference: Warren, HISTORY OF THE AMERICAN BAR 356 (1911).

Long before the current dispute in the USA about the teaching of evolution, Hume's dialogues presented and critically analyzed the idea of intelligent design. What should we teach our children about the creation of the world? What should we teach them about religion? The characters Demea, Cleanthes, and Philo passionately present and defend different answers to that question. Demea opens the dialogue with a position derived from René Descartes and Father Malebranche — God's nature is a mystery, but God's existence (...) can be proved logically. Cleanthes attacks that view, both because it leads to mysticsm and because it attempts the impossible task of trying to establish existence on the basis of pure reason, without appeal to sense experience. As an alternative, he offers a proof of both God's existence and God's nature based on the same kind of scientific reasoning established by Copernicus, Galileo, and Newton. Taking a skeptical approach, Philo presents a series of arguments that question any attempt to use reason as a basis for religious faith. He suggests that human beings might be better off without religion. The dialolgue ends without genuine agreement among the characters, justifying Hume's choice of dialogue as the form of presentation. (shrink)

Michel Meyer offers a new beginning for philosophy rooted in a theory of questioning that he calls "problematology." Meyer argues that a new beginning is necessary in order to resituate philosophy, science, and linguistic analysis, and he proposes a global view of rationality by returning to the nature of questioning itself. For Meyer, philosophy does not solve problems or give answers but instead shows how propositions are related to a whole field of questions that give them meaning. Reason is identified (...) not with answers but with the question-answer process. Meyer pursues this new theory of reason and meaning in a critique of Western philosophy from Socrates, Plato, and Aristotle through Heidegger, Wittgenstein, and Foucault. He provides a detailed analysis of Descartes' notion of radical doubt and demonstrates its implications for the subsequent philosophical tradition that ignored the questioning process while pursuing an unshakable foundation for knowledge. Meyer argues that recent work in rhetoric points toward a theory of radical questioning and claims that the methods of rhetoric and argumentation must be turned back on philosophy itself in order to recover the original significance of metaphysics as the science of ultimate questions. (shrink)

Drawing on sixty-one in-depth interviews conducted with commercial and noncommercial scientists at four universities in the United States, this paper examines why academic scientists embrace commercially oriented career paths in higher education. A central goal of this paper is to expand our descriptive and conceptual understanding of socialization in the academic profession by examining the explanatory power of differential association theory. Differential association theory emphasizes how patterns of behavior are learned through a process of interaction with different types of individuals (...) with varying ideas about the acceptability of a particular course of action. The results demonstrate that socialization to commercialism is an interactive learning process in which scientists learn definitions that are favorable to commercial career trajectories. Such learning is often necessary because prior socialization can either lead to unfavorable views of commercialization or shelter doctoral students from techniques of and rationales for commercialization. (shrink)

A recent online article in the Journal of Medical Ethics, which received wide media coverage, raised the possibility that children are being ‘subjected to torture’ due to the ‘fervent or fundamentalist views’ of their parents. However, the quality of argument in that article was inadequate to sustain such a radical thesis. There was no engagement with the perspectives of different religious traditions about end-of-life care. Instead the authors invoked practices such as male infant circumcision which are wholly irrelevant to the (...) end-of-life theme. There were serious failings in relation to core principles of social and epidemiological research practice: the study based its conclusion on a sample of only six cases and failed to consider even the more obvious confounding features. Rather than demonizing the religious beliefs of parents there should be recognition of the need for mutual respect, dialogue based on an ‘expert–expert relationship’ and collaboration based on ‘shared understanding’. (shrink)