Justice is illustrated by how humans treat others. Human society can no longer be considered just if it continues to treat animals instrumentally, disregarding the moral worth of each individual creature. Emile Durkheim's division of labor theory offers a groundwork for providing animals limited rights within a human-dominated society. Solidarity can be fostered between animals and humans by internalizing the principle that all organisms are interdependent. This principle is the foundation for granting animals moral status. By recognizing the role animals (...) play in our society, we can acknowledge our obligations to them. Utilizing a mechaorganic solidarity, humans can establish justification for moral treatment of animals. (shrink)

If you trained someone to emit a particular sound at the sight of something red, another at the sight of something yellow, and so on for other colors, still he would not yet be describing objects by their colors. Though he might be a help to us in giving a description. A description is a representation of a distribution in a space (in that of time, for instance).

In recent years, inter-medial studies have attracted increasing attention in arts theory. The notion of 'inter-mediality' presupposes that each established art - such as theatre, painting, and cinema - indicates the existence of a particular medium, which preserves its distinct features in translations from art to art and, especially, in its combinations with others in single works. Nonetheless, this field of research is presupposed already in the traditional studies of 'ekphrasis', which focus on the verbal accounts of nonverbal works of (...) art; and in Wagner's notion of Gesamtkuntswerk. This renewed interest generated new fields of research, such as (a) the likelihood of the arts reflecting common grounds; (b) the necessity of a shared metalanguage; (b) the possibility of inter-medial translation; and (d) the inter-medial coexistence within a single work of art, without hindering the reading, interpreting and experiencing abilities of receivers. In honor of Eli Rozik, Ph.D., professor emeritus, former head of the Department of Theatre Studies, and Dean of the Faculty of Arts, Tel Aviv University, this collection provides overviews of all these theoretical issues, and tackles the contemporary practical questions that arise from attempts to transgress the boundaries between the established disciplines of arts studies. Considering first the theoretical aspects of inter-art, inter-mediality, and nonverbal literacy, Exploring the Common Grounds of the Arts goes on to discuss by means of performance analysis; dialogues between the arts within a single work; and correspondences between visual and auditory stimuli in musical contexts. It concludes with a discussion of practical examples of inter-mediality in religious representations, official processions, and public performances. (shrink)

In this book, Eli Hirsch focuses on identity through time, first with respect to ordinary bodies, then underlying matter, and eventually persons.

In 1986, Elie Wiesel received the Nobel Peace Prize in recognition of his victory over “the powers of death and degradation, and to support the struggle of good against evil in the world.” Soon after, he and his wife, Marion, created the Elie Wiesel Foundation for Humanity. A project at the heart of the Foundation’s mission is its Ethics Prize—a remarkable essay-writing contest through which thousands of students from colleges across the country are encouraged to confront ethical issues of personal (...) significance. The Ethics Prize has grown exponentially over the past twenty years. “Of all the projects our Foundation has been involved in, none has been more exciting than this opportunity to inspire young students to examine the ethical aspect of what they have learned in their personal lives and from their teachers in the classroom,” writes Elie Wiesel. Readers will find essays on Bosnia, the genocide in Rwanda, sweatshops and globalization, and the political obligations of the mothers of Argentina’s Disappeared. Other essays tell of a white student who joins a black gospel choir, a young woman who learns to share in Ladakh, and the outsize implications of reporting on something as small as a cracked windshield. Readers will be fascinated by the ways in which essays on conflict, conscience, memory, illness, and God overlap and resonate with one another. These essays reflect those who are “sensitive to the sufferings and defects that confront a society yearning for guidance and eager to hear ethical voices,” writes Elie Wiesel. “And they are a beacon for what our schools must realize as an essential component of a true education.”. (shrink)

ZusammenfassungDie Einleitung zu unserem Themenheft bietet einen kurzen Überblick über bisherige historische Literatur zum Wissen über Indien im nationalsozialistischen Deutschland und skizziert drei verschiedene, aber miteinander verbundene Schichten solchen Kenntnissen: Disziplinäre Kenntnisse der Indologie als akademisches Fachgebiet, Wissen, das den Bedürfnissen staatlicher Stellen gerecht wird, und Allgemeinwissen (und Überzeugungen) über Indien.

Fictionalism is the view that a serious intellectual inquiry need not aim at truth. It came to prominence in philosophy in 1980, when Hartry Field argued that mathematics does not have to be true to be good, and Bas van Fraassen argued that the aim of science is not truth but empirical adequacy. Both suggested that the acceptance of a mathematical or scientific theory need not involve belief in its content. Thus the distinctive commitment of fictionalism is that acceptance in (...) a given domain of inquiry need not be truth-normed, and that the acceptance of a sentence from the associated region of discourse need not involve belief in its content. In metaphysics fictionalism is now widely regarded as an option worthy of serious consideration. This volume represents a major benchmark in the debate: it brings together an impressive international team of contributors, whose essays represent the state of the art in various areas of metaphysical controversy, relating to language, mathematics, modality, truth, belief, ontology, and morality. (shrink)

Il s'agit là d'un livre sur la lecture et l'écriture. Son véritable thème est cependant l'impertinence, voire l'impossibilité. A quoi bon, en effet, écrire sur la lecture quand il suffit de lire? Et que peut-on dire de plus sur l'écriture si l'on écrit déjà? Ainsi ce livre ne comportera-t-il, à proprement parler, aucune matière, et ne transmettra-t-il essentiellement qu'un mouvement : celui de la lecture des testes des autres et de l'écriture qu'elle entraînera. Seul le mouvement peut changer une impossibilité (...) en possibilité, voire en nécessité. Ayant compris, dans une vie antérieure de lecteur, l'impossibilité du Tractatus de Wittgenstein comme livre de pensée, on touchera ici à la nécessité qu'il soit écrit. Puis on explorera, avec " Pierre Ménard, auteur, du Quichotte ", une curieuse possibilité, celle que cette nécessité d'écrire soit le fait du lecteur et non pas de l'auteur. Enfin on aboutira, avec Joseph Joubert et Maurice Blanchot, à l'impossibilité d'écrire, c'est-à-dire à la question de la possibilité de la littérature posée enfin avant celle de la philosophie. C'est en effet avec Blanchot que s'ouvrira le passage entre la philosophie et la littérature et que l'engin de l'écriture atteindra sa " vitesse de libération ". Il prendra alors tout son sens d'une écriture postérieure qui, bien qu'elle fasse suite à l'impossibilité de la pensée, n'en a plus forcément besoin du " pré-texte ". C'est le moment où l'on conçoit, avec Blanchot, " que, dans une œuvre littéraire, on puisse exprimer des pensées aussi difficiles et d'une forme aussi abstraite que dans un ouvrage philosophique, mais à condition qu'elles ne soient pas encore pensées ". (shrink)

First Published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

A sense of unity -- Basic objects : a reply to Xu -- Objectivity without objects -- The vagueness of identity -- Quantifier variance and realism -- Against revisionary ontology -- Comments on Theodore Sider's four dimensionalism -- Sosa's existential relativism -- Physical-object ontology, verbal disputes, and common sense -- Ontological arguments : interpretive charity and quantifier variance -- Language, ontology, and structure -- Ontology and alternative languages.

Proposition I--Every event has determinate characters in terms of which it can be described; it is thus the substantial correlate of at least one proposition having the form "This is an X.".

I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our knowledge (...) is or should be ultimately mediated by ourselves. In objective science, we represent nature as a field of phenomena determined by and within explanatorily-basic physical structures that encode the causal impact of elemental physical forces. These causally-basic forces hence ground the possibility of objective scientific theory, even though (I argue) they are systematically excluded from its representational contents. I show how my notions of force and field emerge partly through my effort to naturalize concepts of 'God' and 'Laws' in 17th-century natural philosophy. In science, we use the structure of basic forces' impact to see corresponding objects. We do not see these forces themselves—and this relates to the 'transcendence' of 'God'. I supplement this historical analysis by critiquing standard accounts of objectivity, and by synthesizing elements from neo-Kantian epistemology and current 'structural' realism into a view that I call 'dynamic structuralism'. Finally, I argue that physics systematically relies on passive characterizations of phenomena like inertia and impressed force. Dynamic alternatives that are just as empirically adequate are possible, but they are non-scientific. Poetic objectivity involves a direct presentation of nature as an order of interacting forces. I elaborate first by developing a novel theory of the relation between beauty and sublimity, mediated by a basic category of 'sensory force' (e.g. a 'singing' tone in a beautiful melody). I then describe the interaction between sensory and affective dimensions of aesthetic experience, in relation to an original historical analysis of passion and 'disinterestedness' in Kant, Schiller and Nietzsche. I synthesize these lines of analysis into a critique of the role of 'expression' in art. I also resist 'spectator'-centric aesthetics, in this connection, by developing an account of artistic objectivity in dialogue with Ruskin's critique of the 'pathetic fallacy'. I contrast artistic objectivity with Romantic ideals of self-expression, while elaborating its positive relation to certain currents within Victorian and Modernist aesthetics, including Imagists' stress on 'exteriority'. My project creatively extends Nietzsche's view that philosophical and scientific theories are 'perspectival' expressions of theorists' drives. It is a virtue of Nietzsche's account that he takes the outlet of strong human drives in creative acts of theorizing to be just one among many higher modes of 'will to power' in nature—many of which are totally impersonal. But Nietzsche is still too focused on self-expression or willing one's own power. Objective science involves external forces' 'expression' in and through us, not just 'expressing' our own powers. And Nietzsche's vitalistic 'will to power' must be replaced by a basic ontology that better accommodates inorganic phenomena, like the 'lawful' order of celestial motions. Thus I aim to de-anthropomorphize and 'de-organicize' post-Kantian notions of willful striving and organic development, while preserving for force the primary ontological and evaluative status that theorists from Schiller and Goethe to Schelling and Schlegel to Emerson and Nietzsche attributed to will or to life. (shrink)

Selections from the Talmud, Shulhan arukh and the writings of Maimonides concerning the treatment of non-Jews in Jewish law.

El psicoanálisis, desde mi punto de vista, es una teorí­a y una práctica para la vida personal. Su históricamente original telos fue, valga la expresión, el desmontaje de la familia, la liberación de lo individual de sus patrones paternal y maternal. Así­, para entender la diferencia que el género representa para las mujeres analistas de la década de 1920, tenemos que situarlas en relación con el despliegue de la historia de la vida personal. ésta, en cualquier caso, es la aproximación (...) que desarrolla este ensayo, centrado en las contribuciones de Melanie Klein."œThe ironic fate of feminist psichoanalysis: The case of Melanie Klein"From my point of view psychoanalysis is a theory and practice for personal life. Historically its original telos was, excuse the expression, the dismantling of the family, the liberation of the individual from his or her paternal and maternal masters. Thus, in order to understand the diference that the genre represents for women analysts in the 192 0s, we have to place them in relation to the unfolding of the history of personal life. This, in any case, is the approach developed in this essay, based on Melanie Klein "™s contributions. (shrink)

Eli Maor examines the role of infinity in mathematics and geometry and its cultural impact on the arts and sciences. He evokes the profound intellectual impact the infinite has exercised on the human mind--from the "horror infiniti" of the Greeks to the works of M. C. Escher from the ornamental designs of the Moslems, to the sage Giordano Bruno, whose belief in an infinite universe led to his death at the hands of the Inquisition. But above all, the book describes (...) the mathematician's fascination with infinity--a fascination mingled with puzzlement. "Maor explores the idea of infinity in mathematics and in art and argues that this is the point of contact between the two, best exemplified by the work of the Dutch artist M. C. Escher, six of whose works are shown here in beautiful color plates."--Los Angeles Times "[Eli Maor's] enthusiasm for the topic carries the reader through a rich panorama."--Choice "Fascinating and enjoyable.... places the ideas of infinity in a cultural context and shows how they have been espoused and molded by mathematics."--Science. (shrink)

Scientists often diverge widely when choosing between research programs. This can seem to be rooted in disagreements about which of several theories, competing to address shared questions or phenomena, is currently the most epistemically or explanatorily valuable—i.e. most successful. But many such cases are actually more directly rooted in differing judgments of pursuit-worthiness, concerning which theory will be best down the line, or which addresses the most significant data or questions. Using case studies from 16th-century astronomy and 20th-century geology and (...) biology, I argue that divergent theory choice is thus often driven by considerations of scientific process, even where direct epistemic or explanatory evaluation of its final products appears more relevant. Broadly following Kuhn’s analysis of theoretical virtues, I suggest that widely shared criteria for pursuit-worthiness function as imprecise, mutually-conflicting values. However, even Kuhn and others sensitive to pragmatic dimensions of theory ‘acceptance’, including the virtue of fruitfulness, still commonly understate the role of pursuit-worthiness—especially by exaggerating the impact of more present-oriented virtues, or failing to stress how ‘competing’ theories excel at addressing different questions or data. This framework clarifies the nature of the choice and competition involved in theory choice, and the role of alternative theoretical virtues. (shrink)

Eli Alshanetsky considers how we make our thoughts clear to ourselves in the process of putting them into words and examines the paradox of those difficult cases where we do not already know what we are struggling to articulate.

It is widely assumed that if ontological disputes turn out to be verbal they ought to be dismissed. I dissociate the semantic question concerning the verbalness of ontological disputes from the pragmatic question on whether they ought to be dismissed. I argue that in the context of ontological disputes ontologists ought to be taken to communicate views with conflicting ontological commitments even if it turns out that on the correct view of semantics they fail to literally-express their disagreement. I argue, (...) that is, against dismissing ontological disputes on grounds of verbalness. This serves to discharge the ongoing debate on the verbalness of ontological disputes from the metaontological consequences typically associated with it. (shrink)

Einstein Versus Bohr is unlike other books on science written by experts for non-experts, because it presents the history of science in terms of problems, conflicts, contradictions, and arguments. Science normally "keeps a tidy workshop." Professor Sachs breaks with convention by taking us into the theoretical workshop, giving us a problem-oriented account of modern physics, an account that concentrates on underlying concepts and debate. The book contains mathematical explanations, but it is so-designed that the whole argument can be followed with (...) the math omitted. Professor Sachs' story begins with classical and nineteenth century physics, describes the early discoveries in particle theory, and introduces the "old" quantum theory, which evolved into the quantum mechanics of the Copenhagen School. Such important ideas as the Einstein Photon Box experiment and the Einstein-Podolsky-Rosen Paradox, and Schrodinger's Cat Paradox are clearly expounded, followed by a completely fresh explanation of relativity in conceptual terms, showing how apparent paradoxes can be removed by Einstein's own interpretation, especially that of his later years. Professor Sachs gives a detailed comparison of the fundamentals of the quantum and relativity theories, suggesting how the contradictions might be resolved. In an epilogue, he makes suggestions, with reference to religious notions, Taoism, and Buber's theory of I-Thou, for generalizing Einstein's approach beyond physics. (shrink)

Sensory ecology is a discipline that focuses on how living creatures use information to survive, but not to live. By trans-defining the orthodox concept of sensory ecology, a serious heterodox question arises: how do organisms use their senses to live, i.e. to enjoy or suffer life? To respond to such a query the objective and emotional meaning of symbols must be revealed. Our program is distinct from both the neo-Darwinian and the classical ecological perspective because it does not focus on (...) survival values of phenotypes and their functions, but asks for the aesthetic effect of biological structures and their symbolism. Our message recognizes that sensing apart from having a survival value also has a beauty value. Thus, we offer a provoking and inspiring new view on the sensory relations of ‘living things’ and their surroundings, where the innovating power of feelings have more weight than the privative power of reason. (shrink)

The problem of Cartesian dualism is viewed as falling under a more general problem: the problem of human unity. This problem is both ancient and modern: whether a human being is a substantial unity of soul and body or merely a contingent one. I compare Aristotle's and Descartes's response to this problem. My thesis is that an important factor in generating Cartesian dualism is the rejection implicit in Descartes's metaphysical codification of the new mathematical science of nature, namely, the rejection (...) of Aristotle's radical teleological concept of nature. It is argued that the modern intractable problem of the relation of mind to body turns historically and metaphysically on the Cartesian substitution of the mathematically refined concept of body--three-dimensional extension--for the once-influential Aristotelian teleological concept of corporeal substance. (shrink)