Do our lives have meaning? Should we create more people? Is death bad? Should we commit suicide? Would it be better if we were immortal? Should we be optimistic or pessimistic? Life, Death, and Meaning brings together key readings, primarily by English-speaking philosophers, on such 'big questions.'.

Opposition: Obedience and authority in Exodus 32-34 / George W. Coats -- The theological significance of contradiction within the Book of the Covenant / Paul D. Hanson -- The renewed authority of Old Testament wisdom for contemporary faith / Wayne Sibley Towner -- A stylistic study of the priestly creation story / Bernhard W. Anderson -- "I will not cause it to return" in Amos 1 and 2 / Rolf P. Knierim.

The article presents the conceptual groundwork for an understanding of the essentially improvisational dimension of human rationality. It aims to clarify how we should think about important concepts pertinent to central aspects of human practices, namely, the concepts of improvisation, normativity, habit, and freedom. In order to understand the sense in which human practices are essentially improvisational, it is first necessary to criticize misconceptions about improvisation as lack of preparation and creatio ex nihilo. Second, it is necessary to solve the (...) theoretical problems that derive from misunderstandings concerning the notions of normativity, habit, and freedom – misunderstandings that revolve around the idea that rationality is a form that is developed out of itself and thus works in a way similar to algorithms. One can only make sense of normativity, habit, and freedom if one understands that they all involve conflictual relationships with the world and with others, which in turn enables one to adequately take into account their constitutive connection to improvisation, properly understood. In outlining these conceptual connections, we want to prepare the foundations for an explanation of rational practices as improvisational practices. The article concludes by stating that human rational life is improvisatory because the conditions of human practice arise out of practice itself. (shrink)

Humans have developed various practices to confront the indeterminacy of their existence. Roughly speaking, there are two types of such practices. On the one hand are those through which humans control the uncertainty that permeates their actions and choices. These are practices of self-reassurance and risk reduc- tion. On the other hand are practices in which humans welcome or search out uncertainty, practices that are explicitly open to the risk of failure. One particu- larly remarkable example of the latter set (...) is art. Art is a practice that embraces the uncertainty of human existence in a special way. Generally speaking, art- works do not aim to reassure. Rather, they are open to uncertainty. Thus, art represents a special mode of reflecting on a constitutive feature of human exis- tence, namely, the possibility of failure. What does it mean that art is, in princi- ple, always susceptible to failure? The present article explores this question. (shrink)

Cet article propose une réinterprétation du système des arts de Hegel. Il montre que ce système contient deux affirmations apparemment contradictoires. D’une part, Hegel soutient que les différents arts ont leurs propres potentialités et accomplissements, irréductibles les uns aux autres. D’autre part, il affirme que ces potentialités et accomplissements ne peuvent être compris que dans le cadre d’une conception d’ensemble de l’art pris en totalité. Loin de d’intégrer l’art comme un tout dans son système, Hegel combine une conception des différents (...) arts comme pratiques autonomes avec l’idée que les différents arts (en tant qu’accomplissements de ce qu’est l’art) sont des contributions au sein de contextes historico-culturels dans lesquels individus et groupes interagissent avec eux. Selon Hegel, les différents arts entrent dans des échanges dynamiques les uns avec les autres sur la base de leur enjeu commun, à savoir de fournir des impulsions productives au mouvement autonome des pratiques historico-culturelles. Les réflexions de Hegel sur l’art offrent ainsi une perspective sur l’unité hétérogène des arts. (shrink)

Without question, Process Philosophy and Political Liberalism: Rawls, Whitehead, Hartshorne, is Daniel Dombrowski's most important and well-argued treatise to date within his growing, prolific literary corpus. Bringing his expertise on John Rawls's political thought to bear on the process thinking of A. N. Whitehead and Charles Hartshorne, he explores commonalities of approach and ventures the interpretive hypothesis that Rawls is, at least broadly speaking, a process philosopher. He also argues that each of these philosophers appropriately shares the appellation “political liberal” (...) when that term is carefully defined. I find this strongly plausible. (shrink)

Critical thinking and arguments -- What makes a good argument? -- Premises and conclusions -- Language -- Propositional arguments -- Categorical arguments -- Analogical arguments -- Statistical arguments -- Causal arguments -- Moral arguments -- Answers to selected exercises -- Reference guide.

S76 1992 305.8—dc20 92-25829 "The Ethnographer's Magic: Fieldwork in British Anthropology from Tylor to Malinowski" was originally published in Observers Observed: Essays on Ethnographic Fieldwork (History of Anthropology Vol. ... Toward a History of the Interwar Years" was originally published in Selected Papers from the American Anthropologist, 1921-45, edited by George W . Stocking, Jr., pp.

George W. S. Bailey. prove that mental phenomena in general are not self- intimating in sense (3). Armstrong's argument is based on two claims: (a) Introspective awareness and its objects are distinct existences. (b) If introspective awareness ...

Since Kant, many philosophers have struggled to overcome the problems of an empiricist conception of the self. In this paper I argue that Heidegger’s philosophy in Being and Time has to be considered as one of the most powerful attempts to gain an anti-empiricist conception of the self and its unity. I highlight the power of Heidegger’s conception by contrasting it with contemporary empiricist conceptions, namely those of Dennett and Velleman. The basic aspect of Heidegger’s conception can be captured by (...) the claim that the unity of the subject is constituted by relations to an open future. (shrink)

We test conformity-related values applying the value-pragmatics hypothesis by evaluating how personal values related to compliance moderate the relationships between situational factors and unethical decisions. We examine the direct and indirect effects of the values of traditionalism, conformity, and stimulation, as they combine with the situational factors of rewards and punishments in the person–situation interaction model. We find strong support for the value-pragmatics view of ethical decision making and further build support for the person–situation interaction model.

Der Aufsatz unternimmt den Versuch, die grundlegenden Strukturen von Hegels Modell der Intersubjektivität zu explizieren, wie er es in der Phänomenologie des Geistes zeichnet. Dieses Modell antwortet auf die Frage, wie Anerkennung in intersubjektiven Beziehungen verwirklicht ist. Ich vollziehe nach, dass Hegels komplexe Antwort auf diese Frage weder in den Überlegungen zum Selbstbewusstsein noch in denen zur sittlichen Substanz vollständig ist. Sie komplettiert sich erst in seinen Ausführungen zum Gewissen.

Leading thinkers from both traditions explore common philosophical topics.

"A very fine piece of work, essential reading for anyone concerned with Kant, Aristotelian ethics, practical reason, and more generally, the foundations of moral value and justification.... The examples are a real strength, insightful and very well-chosen."--Anthony Cunningham, St. John's University "The issues Harris has taken on are among the most important in contemporary moral thinking, and he has handled them systematically, innovatively, wisely, with wit and good sense."--J. K. Swindler, Wittenberg University.

Usually, the ontology of art is executed as an ontology of artworks. This has the consequence that the answer to the question what art is says nothing about why art is valuable. But it is, I argue, necessary to determine the value of art if one wants to say what art is. In order to account for the value of art, I start with the claim that art is a practice of transformation. Thus, I propose to develop the ontology of (...) art as the ontology of a practice of transformation. The practice in question has four elements: first artworks, second interpretive activities through which recipients and producers follow the constellations realized in artworks, third ordinary practices which are reflected through interpretive activities, and fourth practices of art criticism. By way of these four elements art is realized. According to the proposed conception, art is a profoundly unstable practice which challenges human beings and their self-understandings in such a way that they and their self-understandings develop further. (shrink)

In this essay I argue that Malone-France’s anti-realistic interpretation of the Hartshorne-Peirce theory of possibles can be challenged in a number of ways. While his interpretation does suggest that there are in fact two distinct accounts of possibility in Hartshorne’s philosophy, one that is vulnerable to an antirealistic interpretation and one that is not, Hartshorne does have a consistent and defensible doctrine of possibles. I argue that Whitehead’s contrasting “nonprotean” theory of possibles or “eternal objects” has its own set of (...) conundrums to face, including problems with the coherence of the notion of the completeness of eternal objects and problems with infinite regresses. Whether Whitehead’s or Hartshorne’s account of possibles is correct, I concur with Malone-France that the Molinist doctrine of divine knowledge of future contingents is flawed. (shrink)

George McClure offers here a far-reaching analysis of the role of consolation in Italian Renaissance culture, showing how the humanists' interest in despair, and their effort to open up this realm in both social and personal terms, signaled a shift toward a heightened secularization in European thought. Analyzing works by fourteenth-and fifteenth-century writers, from Petrarch to Marsilio Ficino, McClure examines the treatment of such problems as bereavement, fear of death, illness, despair, and misfortune. These writers, who evinced a belief (...) in the legitimacy of secular sadness, tried to forge a wisdom that in their view dealt more realistically with the art of living and dying than did the disputations of scholastic philosophy and theology. Arguing that consolatory concerns helped spur the revival of classical schools of psychological thought, McClure reveals that the humanists sought comfort from once-neglected troves of Stoic, Peripatetic, Epicurean, Platonic, and Christian thought. He contends that the humanists' pursuit of solace and their duty as consolers provided not only a forum but perhaps also an incentive for the articulation of prominent Renaissance themes concerning immortality, the dignity of man, and the sanctity of worldly endeavor. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Der Aufsatz verfolgt die Frage, welche Bedeutung Literatur im Sinne von künstlerischem Sprachgebrauch für Sprache überhaupt zukommt. Inwiefern ist für Sprache und sprachliches Verstehen künstlerischer Sprachgebrauch konstitutiv? Ich mache den Vorschlag, diese Frage durch die Unterscheidung von sprachlicher Artikulation (von Strukturen der Welt) und sprachlicher Explikation (der sprachlichen Thematisierung von Sprache) zu beantworten. Diese Unterscheidung versetzt uns in die Lage, die Irreduzibilität von Explikation für Sprache zu begreifen. Auf dieser Grundlage kann dann künstlerischer Sprachgebrauch als eine spezifische Form von Explikation (...) verstanden werden, der eine besondere Relevanz für Sprache insgesamt zukommt. Diese besondere Relevanz lässt sich mit der These umreißen, dass literarische Texte eine Distanzierung von artikulativen Zusammenhängen in der Sprache eröffnen. So erweist sich Literatur als eine dem Medium der Sprache eingeschriebene Form der Freiheit. The paper addresses the question of how to determine the significance of literature – i.e. the artistic use of language – for language. Is the artistic use of language constitutive for language and linguistic understanding more generally? I seek to answer these questions by, first, distinguishing between linguistic articulation (of structures in the world) and linguistic explication (understood as the linguistic thematization of language itself). This makes it possible to, second, view linguistic explication as an irreducible dimension of language. Against this background, we can conceive the artistic use of language as a specific type of explication that has genuine relevance for the use of language more generally, because literary texts enable us to distance ourselves from the structures of articulating language. In this sense, literature has to be understood as a means of realizing freedom that is inscribed into language as such. (shrink)

It is the task of theology in every age to discover formulations of belief which are both traditionally and genuinely meaningful. The Book of Acts presents Jesus Christ, absent since his ascension, yet powerfully present in a complex of ways, which may be catalytically provocative for the thinking of faith today.

This volume attempts a critical historical consideration of the varying colonial situations in which (and from which) ethnographic knowledge essential to anthropology has been produced. The essays cover regions from Oceania, Southeast Asia and southern Africa to North and South America.

In this paper, I discuss Adorno’s critique of jazz to develop a metacritique. I explain the basic objection of Adorno against jazz which states that jazz performances do not realize a law of form and therefore are not able to challenge subjects. According to my diagnosis, Adorno’s assessment of jazz is based on his conception of art for, firstly, Adorno excludes interactions of contributing to a law of form and, secondly, has a one-sided account of how art reflects subjectivity. If (...) one works out a conception of art that avoids these shortcomings it is possible to conceive of jazz as a paradigmatic form of art. (shrink)