El artículo muestra que, en numerosos contextos, Agustín reflexiona sistemáticamente sobre la teología de la escucha transformadora, y da en la práctica un destacado ejemplo de ella. Se centra en los tres últimos libros de las Confesiones, particularmente el libro 11, donde Agustín presenta una versión única, pero también paradigmática, del arte y práctica de oír.

How should politicians act? When should they try to lead public opinion and when should they follow it? Should politicians see themselves as experts, whose opinions have greater authority than other people's, or as participants in a common dialogue with ordinary citizens? When do virtues like toleration and willingness to compromise deteriorate into moral weakness? In this innovative work, Andrew Sabl answers these questions by exploring what a democratic polity needs from its leaders. He concludes that there are systematic, principled (...) reasons for the holders of divergent political offices or roles to act differently. Sabl argues that the morally committed civil rights activist, the elected representative pursuing legislative results, and the grassroots organizer determined to empower ordinary citizens all have crucial democratic functions. But they are different functions, calling for different practices and different qualities of political character. To make this case, he draws on political theory, moral philosophy, leadership studies, and biographical examples ranging from Everett Dirksen to Ella Baker, Frances Willard to Stokely Carmichael, Martin Luther King Jr. to Joe McCarthy. Ruling Passions asks democratic theorists to pay more attention to the "governing pluralism" that characterizes a diverse, complex democracy. It challenges moral philosophy to adapt its prescriptions to the real requirements of democratic life, to pay more attention to the virtues of political compromise and the varieties of human character. And it calls on all democratic citizens to appreciate "democratic constancy": the limited yet serious standard of ethical character to which imperfect democratic citizens may rightly hold their leaders--and themselves. (shrink)

:A common justification offered for unequal pay is that it encourages socially beneficial productivity. G. A. Cohen famously criticizes this argument for not questioning the behaviour and attitudes that make those incentives necessary. I defend the communal status of incentives against Cohen's challenge. I argue that Cohen's criticism fails to appreciate two different contexts in which we might grant incentives. We might grant unequal payment to someone because they demand it. However, unequal payment might be an offer instead. I claim (...) that incentives as offers promote the ideal of society as a cooperative venture for mutual advantage. (shrink)

BackgroundInstitutions of higher learning are persistently struggling with issues of academic dishonesty such as plagiarism, despite the availability of university policies and guidelines for upholding academic integrity.MethodologyThis was a descriptive qualitative study conducted on 37 students of a Healthcare Ethics course at an Australian tertiary institution from February 2016 to October 2018. The purpose of the study was to explore the reasons for plagiarism detected the TurnitinR plagiarism checking software and extensive review of manuscripts. The interviews were conducted in private (...) rooms and in strict confidence. Thematic analysis was manually done.ResultsFour major themes namely, lack of interest; pressure of time with competing priorities; lack of understanding of the policy on academic honesty, and “the determined students” were identified. Sub themes under lack of interest were lack of preparation and effort, low self-efficacy, poor studying techniques, and convenience of internet sources. Under pressure of time, the subthemes were, misplaced priorities, procrastination, high workloads, poor planning, competing interests, and the perception of availability of time at the start of the semester. Regarding lack of understanding of the policy on academic honesty, the subthemes identified were, lake of awareness of plagiarism, lack of awareness of acceptable similarity, conflicting messages from tutors and confusion with high school learning. The determined students were those that either made all effort to reduce plagiarism but still remained high, used the another language at home other than English, had poor paraphrasing techniques or lacked resources for English language editing.ConclusionThere are varied and diverse reasons for plagiarism. There is a need to systematically reinforce and educate students on issues pertaining to academic dishonesty and their associated implications. (shrink)

I argue social and political freedom is not primarily about the absence of constraints, whether those constraints be in the form of interference or domination. Instead, social freedom is centrally about what makes us free. That is, the question of social freedom is first and foremost about determining the positive preconditions of being a free person within society. Social freedom is about what I call the social bases of freedom, or those features of our social world that we have a (...) reason to rely on in making plans or going about our business. (shrink)

This entry provides a substantive overview of research and debates concerning creativity in philosophy and related fields. Topics covered include definitions of creativity, whether creativity can be learned, whether it can be explained, attempts to explain creativity in cognitive science, and whether computer programs or AI systems can be creative.

To commemorate 40 years since the founding of the Journal of Business Ethics, the editors in chief of the journal have invited the editors to provide commentaries on the future of business ethics. This essay comprises a selection of commentaries aimed at creating dialogue around the theme Business versus Ethics?. The authors of these commentaries seek to transcend the age-old separation fallacy :409–421, 1994) that juxtaposes business and ethics/society, posing a forced choice or trade off. Providing a contemporary take on (...) the classical question “if it’s legal is it ethical?”, David Hess explores the role of the law in promoting or hindering stakeholder-oriented purpose and governance structure. Jeffrey Harrison encourages scholars to move beyond the presupposition that businesses are either strategic or ethical and explore important questions at the intersection of strategy and ethics. The proposition that business models might be inherently ethical or inherently unethical in their design is developed by Sheila Killian, who examines business systems, their morality, and who they serve. However, the conundrum that entrepreneurs are either lauded for their self-belief and risk-taking, or loathed for their self-belief and risk-taking, is discussed by M. Tina Dacin and Julia Roloff using the metaphor of taboos and totems. These commentaries seek to explore positions that advocate multiplicity and tensions in which business ethics is not either/or but both. (shrink)

Richard Penny argues that Rawls’s commitment to self-respect puts him at odds with his endorsement of unequalizing incentives. Penny draws on G.A. Cohen’s distinction between ‘lax’ and ‘strict’ readings of the difference principle to make this point. Given this, Penny concludes that Rawls faces a dilemma: either Rawls weakens his endorsement of unequalizing incentives or weakens his commitment to self-respect. By taking the difference principle in isolation, Penny creates a false dilemma. I will argue that once we place the difference (...) principle in the context of Rawls’s theory as a whole, we find that unequalizing incentives pose no danger to the self-respect of the least advantaged. Moreover, I will argue that a strict reading of the difference principle is incompatible with the self-respect of all citizens in a well-ordered society given the fact of reasonable pluralism. My arguments reveal the importance of seeing self-respect as a threshold good, rather than a relative one. (shrink)

Few seem to have difficulty in distinguishing between religious and secular institutions, yet there is widespread disagreement regarding what "religion" actually means. Indeed, some go so far as to question whether there is anything at all distinctive about religions. Hence, formulating a definition of "religion" that can command wide assent has proven to be an extremely difficult task. In this article I consider the most prominent of the many rival definitions that have been proposed, the majority falling within three basic (...) types: intellectual, affective and functional definitions. I conclude that there are pragmatic reasons for favouring the formerly popular view that essentialist definitions of "religions" are inadequate, and that religions should be construed, instead, as possessing a number of "family resemblances". In so arguing, I provide a response to the view that there is nothing distinctive about religions, as well as to the recent claim that religions do not exist. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Business Ethics: A European Review, EarlyView.

We say that a theory [Formula: see text] satisfies arithmetic-is-recursive if any [Formula: see text]-computable model of [Formula: see text] has an [Formula: see text]-computable copy; that is, the models of [Formula: see text] satisfy a sort of jump inversion. We give an example of a theory satisfying arithmetic-is-recursive non-trivially and prove that the theories satisfying arithmetic-is-recursive on a cone are exactly those theories with countably many [Formula: see text]-back-and-forth types.

Benatar’s central argument for antinatalism develops an asymmetry between the pain and pleasure in a potential life. I am going to present an alternative route to the antinatalist conclusion. I argue that duties require victims and that as a result there is no duty to create the pleasures contained within a prospective life but a duty not to create any of its sufferings. My argument can supplement Benatar’s, but it also enjoys some advantages: it achieves a better fit with our (...) intuitions; it does not require us to acknowledge that life is a harm, or that a world devoid of life is a good thing; and it is easy to see why it does not have any pro-mortalist implications. (shrink)

Purpose Online violence has been rampant in the past decade, intensifying the victims’ suffering owing to its rapid dissemination to vast audiences. This study aims to focus on online gender-based violence directed against young Bedouin women who have left their male-dominated home territory for academic studies. This study examined how the backlash against these students, intended to stop changes in traditional gender roles, is reflected in offensive TikTok videos. Design/methodology/approach This research is based on a qualitative-thematic analysis of 77 questionnaires (...) and 30 semistructured in-depth interviews with first-year female Bedouin students aged 18–21 years. Findings The backlash was widespread, with young Bedouin men using offensive videos as “proof” that women have violated codes of honor and morality. The videos exhibited four types of gender-based violence: claims of immoral behavior, aggressive captions that take the footage out of context, allegations of immodest clothing and digital photo editing that produced fabricated results. Examining participants' reactions to the videos, this study revealed two patterns of response: passive acceptance of the situation and an active approach that included reaching out to powerful Bedouin men for solutions. Originality/value This research enriches the literature on online gender-based violence, particularly against women in traditional societies, and suggests practical steps: developing online media literacy in traditional societies, adopting a proactive approach and nurturing social self-competence in women who have been victims of online gender-based violence. (shrink)

The last few decades have witnessed a flowering of interest in the history of science in the British Empire. This essay aims to provide an overview of some of the most important work in this area, identifying interpretative shifts and emerging themes. In so doing, it raises some questions about the analytical framework in which colonial science has traditionally been viewed, highlighting interactions with indigenous scientific traditions and the use of network‐based models to understand scientific relations within and beyond colonial (...) contexts. (shrink)

We provide complete classifications of algebras of partial maps for a significant swathe of combinations of operations not previously classified. Our focus is the many subsidiary operations that arise in recent considerations of the ‘override’ and ‘update’ operations arising in specification languages. These other operations turn out to have an older pedigree: domain restriction, set subtraction and intersection. All signatures considered include domain restriction, at least as a term. Combinations of the operations are classified and given complete axiomatizations with and (...) without the presence of functional composition. Each classification is achieved by way of providing a concrete representation of the corresponding abstract algebras as partial maps acting on special kinds of filters determined with respect to various induced orders. In contrast to many negative results in the broader area, all of the considered combinations lead to finite axiomatizations. (shrink)

It may be that the overworn analogy between the history of philosophy and a river system has still a value, and if so, it is a value beyond that usually claimed for it. The grosser likenesses between the stream of history and the stream of geography have been, it is true, too often pointed out, while the subtler similarities are neglected. For instance, there are points in both kinds of stream where it runs deep, others where it is shallow; at (...) one point it may run swiftly, as through a gorge, and at another the valley may be wide and the stream broad, and sluggish. However, whereas in the stream of science the running waters often purify themselves, in that of philosophy there are many stagnant pools where the current of criticism has never set in. Further, there are discernible here and there canalizations by which arid plains are artificially irrigated. And it must be admitted that, at other points, outhouses have been built over the stream and its waters sullied. (shrink)

In recent years, legal studies have increased the focus on contemporary social issues involved in law and society. This volume discusses the traditional subjects covered in other law and society texts and eliminates the need for a separate reader by also including chapters on controversial legal topics including affirmative action, education, the death penalty, right to work laws, and abortion. Each chapter builds on the previous ones and includes concrete examples of the issues involved. Supplemented with ample pedagogical features, the (...) book is designed to encourage students in the development of new insights on the relationships between law and society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bernard Harrison THE TRUTH ABOUT METAPHOR GOTTLOB frece introduced into philosophy two doctrines whose subsequent influence, on analytic philosophers at least, has been momentous. One is the doctrine that to understand a sentence is to know how to set about establishing die trudi-value of an assertion couched in those words. The other is the doctrine that a word has meaning only in the context of a sentence. These (...) doctrines make it hard to understand metaphor. They create difficulties, especially, for any theory of metaphor which assumes the intelligibility of talk about two kinds of meaning, literal and metaphorical. Frege's doctrines allow only one kind of meaning: one connected essentially with the issue of truth and falsity. But it is only when we take them literally that metaphorical sentences acquire a truth value: usually false. Two obvious suggestions offer ways of getting around this. The first is the suggestion diat metaphors are condensed or disguised similes: true or (sometimes) false statements about similarity. The second is the suggestion that a term used in a metaphorical context just has a different literal meaning from the one it has in a sentence intended to be taken literally. Neither is very plausible. The first reduces a metaphorical comparison, "Man is a wolf," to a literal statement of similarity, "Men are like wolves." But what similarity, exactly, is the statement supposed to be asserting? Perhaps that men prey upon one anodier, as wolves are supposed to do. But dien "prey" can only be meant metaphorically, at which point die puzzle revives. As Goodman says of die attempt to find a simile in the metaphorical assertion diat a picture is sad, "What die simile says in effect is that person and picture are alike in being sad, die one literally and the odier metaphorically. Instead of metaphor reducing to simile, simile reduces to metaphor; or radier, the difference between simile and metaphor is negligible." ' 38 Bernard Harrison39 An equally fatal objection to the second suggestion is diat it is only ifwe take die terms which compose a metaphor in their plain everyday senses that they compose a metaphor. As R. M. J. Dammann puts it, "IfGod is a rock in a different sense from that in which Gibraltar is one, then both are really, literally, rocks, just as what one buys in a sweetshop is rock, though a dissatisfied customer might call it such metaphorically."2 It cannot, in odier words, be literally true diat die process of understanding a metaphor involves changing the sense ofits constituent expressions, odierwise metaphor would evaporate in die reader's grasp into literality. What this suggests is diat what makes a sentence metaphorical is not any change in the meaning of its constituent expressions, but the way in which those expressions, with dieir plain everyday meanings, are combined in the sentence. What we need, perhaps, ifwe are to begin to understand metaphor, is not a dieory ofmetaphorical meaning, but an account of what it is to assert metaphorically: an account, diat is, which would operate at the level of die sentence rather than at diat of die word. But this returns us to Frege's two doctrines. If the meaning of a word is to be wholly identified with die contribution it makes to die determination of a truth value for each sentence in which it occurs, dien it is difficult to see how the constituents of a sentence could determine anything odier than a plain, literal meaning for the sentence as a whole. What I shall try to show in this essay is that this difficulty can be overcome : that we can give a satisfactory account of the semantic mechanisms of metaphor without giving up either of Frege's doctrines. As Frege thought, understanding a sentence is knowing how to set about establishing the truth or falsity ofassertions couched in diose words. But to say what, exacdy, someone knows in knowing diat demands, I shall argue, a more complicated story than Fregeans have supposed. First, diough, I want to consider a more radical strategy dian mine for squaring Frege's doctrines with our experience of metaphor, proposed by Donald Davidson.3 Davidson holds widi Frege that the... (shrink)

This book provides readers a unique window into these talks, which have invited so many to a life of inquiry.

Does the desirability of social institutions for public goods provision depend on the extent to which they include mechanisms for endogenous enforcement of cooperative behavior? We consider alternative institutions that vary the use of direct punishments to promote social cooperation. In one institution, subjects participate in a public goods experiment in which an initial stage of voluntary contribution is followed by a second stage of voluntary, costly sanctioning. Another institution consists of the voluntary contribution stage only, with no subsequent opportunity (...) to sanction. In a third stage subjects vote for which institution they prefer for future interactions: do they prefer one that does allow sanctions or one that does not allow sanctions? Our results show that even though sanctions are frequently used when available, the clear majority of individuals vote for the institution that does not allow sanctions. Thus, a distinction is required between the principles that guide the choice of institutions and the principles that apply to actions guided by institutions. Our results indicate that it is the wealth generated by the institution that determines its desirability. (shrink)

At present, when we live under the duress of the speed/quantity/fleeting impressions dictatorship, no possibility avails to formulate one’s total identity in horizontal and vertical dimensions, and therefore a serious danger confronts us to loose our historical consciousness and the taste of the wholeness of life. Intrying to reach ever-new modes of acceleration, we tend to forget what is really worthwhile. Loosing of memories as to the events, emotions, places, people and things, culminates in the total loss of memory concerning (...) Memory itself – not only as a psychological quality of remembering, but Memory as a phenomenon of life-consciousness. This leads us to the question of memory and its connections with consciousness, with being (also with the forgetting of being) with time, with the past and with the future; also with death and the wholeness of life. In the paper different understanding of memory have been considered: memory as being inphilosophy of St. Augustin, memory as Bildbewustsein in Husserl’s phenomenology and memory and narrative in W. Benjamin’s philosophy. (shrink)

This article analyzes how the concept of symbolic reference arises from Whitehead's theory of perception. Perception is also the emergence of a new product in experience, an element of the self-creation of man, an individual synthesis, an exemplification of freedom. For Whitehead, it is the relationship between symbol and meaning, bidirectional and dual. The function of words involves enhancing the relevance of a meaning-event and making it communicable. The novelty emerging in the course of perception introduces a new intensity of (...) individual feeling that is emphasized even more by the forming of propositions and evaluating them before the background of alternatives. Language and philosophy face the same paradox in the emergent continuity: how to handle the contrast between many things and one world. For Whitehead, the final metaphysical principle of the emergence of novelty is universally valid, and human beings crave novelty and fear it at the same time, searching for novelty without loss. Creativity arises par excellence in the phenomenon of originality of life and is completed by the adventure of human discoveries. (shrink)

My goal is to explicate the ontological framework of the human self that is required for radical discipleship. I do this through two notions: Christian love and Christian humility. To that end I explore the other- and the self-regarding aspects of humility and love, posing a problem for love and humility rooted in our typical notions of self-interest and phronesis. I then propose a way of rethinking humility and love in the context of a sketch of solidarity and an alternative (...) ontology of the self. (shrink)

This book provides the first general account of the works of the Latin writer Apuleius, most famous for his great novel the `Metamorphoses' or `Golden Ass'. Living in second-century North Africa, Apuleius was more than an author; he was an orator and professional intellectual, Platonist philosopher, extraordinary stylist, relentless self-promoter, as well as a versatile author of a remarkably diverse body of other work, much of which is lost to us.