ABOUT THE AUTHOR George Hunt Williamson served with the Army Air Corps during World War II as Radio Director for the Army Air Forces Technical Training..

George Bealer provides an account of intuitions as “intellectual seemings.” My purpose in this paper is to criticize the phenomenological considerations that Bealer offers in favor of his account. In the first part I review Bealer’s attempt to distinguish intuitions from beliefs, judgments, guesses, and hunches. I examine each of the three phenomenological differences – incorrigibility, implasticity, and scope – that Bealer adduces between intuitions and these other types of mental contents. I argue that any difference between intuitions and (...) these other types of mental contents with regards to their incorrigibility, implasticity, and scope is unproven and likely to remain unproven. In the second part I criticize Bealer’s analogy between intuitions and sensory seemings by suggesting that intuitions do not display the theoretical virtues—consistency, corroboration, and confirmation—that Bealer claims for them. Moreover, I suggest that intuitions do not display the theoretical virtue that would indicate a similarity to sensory seemings, consilience. (shrink)

For some time it has been fashionable in literary circles to reject what is called scornfully the biographical method. It was inevitable. No mode lasts forever. Sooner or later, there is a change. This method was the law for too long. It had no rival. Under its tutelage the motto for teaching literature was “the man, his work”. It was by its authority that students were taught that La Fontaine was in charge of waterways and forests and master of the (...) hunt before writing his Fables, that they had to learn by heart; or that Beaumarchais had been a clockmaker, musician, secret agent and business man before inventing the character of Figaro, proposed for their admiration. There has been a reaction. Our irreverent and contentious age has put an end to that absolute sovereignty. For a good quarter of a century this practice and the assumptions on which it rests has been on trial, in the name of the various and at times even contradictory conceptions and theories about the nature of literature. These have in common, however, the belief in the independence of literature with regard to the human being who was the instrument of its creation, as well as the anathema cast by this fact on what is commonly accepted as “referential illusion”. (shrink)

The Challenge of the Exception is the key that unlocked the ideas of Carl Schmitt, a leading political theorist and jurist who influenced the thoughts of, among others, Hannah Arendt, Carl Joachim Friedrich, Otto Kirchheimer, Hans Morgenthau, Franz Neumann, and Leo Strauss. Professor Schwab clearly articulates Schmitt's key concepts and relates their centrality to politics and the state, to the political theory of liberalism, democracy and authoritarianism, and to international relations. When Schwab treats Schmitt's interpretations of constitutional questions, for example, (...) he shows how political theory in Germany is inextricably linked with constitutional law, legal theory, and the country's history. Not content to merely deal with Schmitt's profound contributions to twentieth-century thought, Schwab devotes considerable space to the unconscionable compromises that he made with the Third Reich. This, however, failed to help him become the political and legal theorist of Hitler's Germany. Schwab shows how the new Schmitt was suspect from the beginning and, by 1936, Schmitt the hunter had become Schmitt the hunted. Schwab's presentation of the multifaceted Carl Schmitt exposes the reader to a truly interdisciplinary excursion into the humanities and social sciences. (shrink)

The passage containing this verb is in Resp. v. 450 B: χρυσοχοήσοντας οἴει τούσδε νῦν ἐνθάδε ἀφῖχθαι, ἀλλ᾽οὐ λόγων ἀκουσομένους; The situation is dramatic. Socrates, to his own mind, has just finished a discussion of the one part of his ideal state, and is intending to go on to the other. Polemarchus, however, seizes him by the cloak and at the same time whispers to Adeimantus. Then Adeimantus tells Socrates that they will hold him by force, until he explains further (...) some words of his that have aroused their interest, and finally Thrasymachus adds that they are unanimous in this decision. Socrates replies that they know not what a swarm of explanations they are stirring up. ‘Seeing this swarm,’ says he, ‘I let it pass, that it might not bother us greatly.’ Then Thrasymachus replies: ‘But do you think these persons have come here for gold-hunting , and not to hear explanations?’. (shrink)

Dispassionate cruelty and the euphoria of hunting or battle should be distinguished from the emotional savoring of victims' suffering. Such savoring, best called negative empathy, is what puzzles motivational theory. Hyperbolic discounting theory suggests that sympathy with people who have unwanted but seductive traits creates a threat to self-control. Cruelty to those people may often be the least effortful way of countering this threat.

Nature's Teachings, first published in 1877, was one of many books on natural history by J. G. Wood, a Victorian clergyman who was hugely influential in popularising the subject, as well as being the editor of The Boy's Own Magazine. Here he examines the close parallels between nature and human inventions in areas including seafaring, war and hunting, architecture, tools, optics and acoustics, as well as 'useful arts' including sewage disposal. His text contains over 750 figures and illustrations, and he (...) argues that future great discoveries could be made as a result of careful observations of nature. Although a contemporary of Darwin, Wood largely ignored the evolution debates and focused on communicating his enthusiasm for the natural world to a non-scientific audience. His successful publications still make fascinating reading for those interested in Victorian culture and the history of education. (shrink)

Within anthropology, as elsewhere in the human sciences, there is a tendency to divide knowledge making into two separate poles: conceptual (theory) vs. empirical (ethnography). In Theory Can Be More than It Used to Be, Dominic Boyer, James D. Faubion, and George E. Marcus argue that we need to take a step back from the assumption that we know what theory is to investigate how theory—a matter of concepts, of analytic practice, of medium of value, of professional ideology—operates in (...) anthropology and related fields today. They have assembled a distinguished group of scholars to diagnose the state of the theory-ethnography divide in anthropology today and to explore alternative modes of analytical and pedagogical practice. Continuing the methodological insights provided in Fieldwork Is Not What It Used to Be, the contributors to this volume find that now is an optimal time to reflect on the status of theory in relation to ethnographic research in anthropology and kindred disciplines. Together they engage with questions such as, What passes for theory in anthropology and the human sciences today and why? What is theory's relation to ethnography? How are students trained to identify and respect anthropological theorization and how do they practice theoretical work in their later career stages? What theoretical experiments, languages, and institutions are available to the human sciences? Throughout, the editors and authors consider theory in practical terms, rather than as an amorphous set of ideas, an esoteric discourse of power, a norm of intellectual life, or an infinitely contestable canon of texts. A short editorial afterword explores alternative ethics and institutions of pedagogy and training in theory. Contributors: Andrea Ballestero, Rice University; Dominic Boyer, Rice University; Lisa Breglia, George Mason University; Jessica Marie Falcone, Kansas State University; James D. Faubion, Rice University; Kim Fortun, Rensselaer Polytechnic Institute; Andreas Glaeser, University of Chicago; Cymene Howe, Rice University; Jamer Hunt, Parsons The New School for Design and the Institute of Design in Umea, Sweden; George E. Marcus, University of California, Irvine; Townsend Middleton, University of North Carolina at Chapel Hill; Deepa S. Reddy, University of Houston–Clear Lake; Kaushik Sunder Rajan, University of Chicago. (shrink)

Respecting the autonomy of disabled people is an important ethical issue for providers of long-term care. In this influential book, George Agich abandons comfortable abstractions to reveal the concrete threats to personal autonomy in this setting, where ethical conflict, dilemma and tragedy are inescapable. He argues that liberal accounts of autonomy and individual rights are insufficient, and offers an account of autonomy that matches the realities of long-term care. The book therefore offers a framework for carers to develop an (...) ethic of long-term care within the complex environment in which many dependent and aged people find themselves. Previously published as Autonomy and Long-term Care, this revised edition, in paperback for the first time, takes account of recent work and develops the author's views of what autonomy means in the real world. It will have wide appeal among bioethicists and health care professionals. (shrink)

To date the teaching of business ethics has been examined from the descriptive, prescriptive, and analytical perspectives. The descriptive perspective has reviewed the existence of ethics courses (e.g., Schoenfeldtet al., 1991; Bassiry, 1990; Mahoney, 1990; Singh, 1989), their historical development (e.g., Sims and Sims, 1991), and the format and syllabi of ethics courses (e.g., Hoffman and Moore, 1982). Alternatively, the prescriptive literature has centred on the pedagogical issues of teaching ethics (e.g., Hunt and Bullis, 1991; Strong and Hoffman, 1990; (...) Reeves, 1990; Castro, 1989; George, 1987; Golenet al., 1985) and in providing recommendations for teachers of business ethics (e.g., Nappi, 1990; Hosmer and Steneck, 1989). From the analytical perspective judgments have been made as to whether courses in ethics are in fact effective in achieving value and attitudinal modifications in students (e.g., Loeb, 1991; Weber, 1990; Wynd and Mager, 1989; Pamental, 1989; Martin, 1982; Purcell, 1977). The evidence to date suggests that courses can be a means of achieving ethical awareness and sensitivity in students although it should be recognized that significant objections to the teaching of business ethics do exist and greatly inhibit their successful introduction. This paper addresses a number of the common objections to the teaching of business ethics that must be overcome if ethical programs are to continue in the future, and concludes with recommendations to facilitate the establishment of ethical training in an academic context. (shrink)

This article surveys and classifies the kinds of appeal to the Bible made in recent theological discussions of ecology and environmental ethics. These are, first, readings of `recovery', followed by two types of readings of `resistance'. The first of these modes of resistance entails the exercise of suspicion against the text, a willingness to resist it given a commitment to a particular (ethical) reading perspective. The second, by contrast, entails a resistance to the contemporary ethical agenda, given a perceived commitment (...) to the Bible. This initial typology and the various reading strategies surveyed are then subjected to criticism, as part of an attempt to begin to develop an ecological hermeneutic, a hermeneutic which operates between recovery and resistance with an approach that may be labelled `revision', `reformation' or `reconfiguration'. (shrink)

On the fictional level, La Route des Flandres deploys a world in the process of complete disintegration. The manifestly privileged situation is the debacle of the French army in 1940 in which a number of the novel's protagonists are involved: George, the narrator; his cousin, Captain de Reixach; Iglésia, previously the Captain's jockey, now his orderly; Blum, Wack, and their horses. The havoc wrought by the military debacle can be subdivided into five categories. With the dissociation and decimation of (...) the army . . . and the disintegration of the discipline which had consolidated it . . . an entire military order is in the course of demolition. The breakdown of the military organization is accompanied by a parallel dissolution of the social order. Scattered along the roads, the civilians have lost their essential function, their trade. And, in an incident which occurs in front of the captain, when a peasant threatens the deputy mayor with his hunting rifle, we detect a direct reversal of the civic order. In the mechanical order, the all but dismembered automobiles . . . and the dismantlement of their motors contribute to the general tide of dilapidation and decay. The spatial order, represented here by the traditional military space, endowed with significance and hierarchically divided into front and rear, becomes depolarized with the disappearance of the battle lines and the inextricable entanglement of the two armies . . . The temporal order, the chronological arrangement of events, is subject to a similar vitiation. Jean Ricardou is equally well known for his fiction, including L'Observatoire de Cannes , La Prise de Constantinople , Les Lieux-dits , and his criticism, including Problèmes du Nouveau Roman , Pour une Theorie du Nouveau Roman , and Le Nouveau Roman ."ARTISTS ON ART: Birth of a Fiction" appeared in the Winter 1977 issue of Critical Inquiry. Erica Freiberg regularly translates Jean Ricardou's works. She holds degrees in French and Italian, philosophy and modern literature from the University of Paris and the University of Geneva. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Marcia Muelder Eaton ANTHONY POWELL AND THE AESTHETIC LIFE Anthony POWELL'S work has been looked at carefully by relatively few critical scholars, in spite of the fact that he has been called "the most elegant writer presently working in the English language." ' I am surprised at how little he is read — at least in the United States. He is a splendid writer, often entertaining, always a skilled (...) craftsman. His earlier novels {Afternoon Men, 1931; Venusberg, 1932; From a View to a Death, 1933; Agents and Patients, 1936; and What's Become of Waring, 1939) are short satiric and ironic comedies dealing mainly with London bohemia in the 1920s. His later fictional work is a twelve volume tour de force (A Question of Upbringing, 1951; A Buyer's Market, 1952; The Acceptance World, 1955; At Lady Molly's, 1957; Casanova's Chinese Restaurant, 1960; The Kindly Ones, 1962; The Valley of Bones, 1964; The Soldier's Art, 1966; The Military Philosophers, 1968; Books Do Furnish a Room, 1971; Temporary Kings, 1973; Hearing Secret Harmonies, 1975) 2 in which the narrator, NicholasJenkins, attempts, with varying degrees of success, to make sense of life as A Dance to the Music of Time. Both the early and later works are populated by many characters. Manageable in the short, independent novels, they become so numerous in the interdependent volumes of Dance that several critics are dubious about anyone's keeping them straight; had I read them as they were published — with months, sometimes years and the novels of others between appearances — I am sure it would have been impossible to keep track of the minor characters. In 1960, Time and Tide published a cast ofcharacters for "readers who find it difficult to remember from book to book details of family and other more tenuous relationships between characters who have a habit of popping up surprisingly in the most unexpected places."3 The entries provide the following kinds of information: "McReith, Lady (Gwen): friend of Babs Templer and Jimmy Stripling; goes to bed with 166 Marcia Muelder Eaton167 Peter Templer when staying in the Templer (senior) house.... Tolland, George: son of Lord Warminster: was in Coldstream for some years then went into city. Very correct." More recently Hilary Spurling has compiled a book-length guide to the plots and characters ofDance. It also includes an index of books, paintings, and places referred to.4 Even with these guides there are loose ends, and it is not always clear what functions certain minor characters serve. Nonetheless, the popping-up in unexpected places is, as I hope to show, essential to the theme of the work. Powell is by no means universally acclaimed; his novels have been described as "contrived,"5 and "pseudo-Proustian" and "blandly snobbish."6 The early novels have been said to "tell about 'twentyish emancipation, silly parties at which drunks behave stupidly, ambitious young men on the make for the daughters of fox-hunting families, all with an air of slightness and couldn't-care less." 7 And Dance has likewise been scorned: To begin with, each character is introduced as he first appears to the narrator, who immediately speculates for three or four pages on the probable nature of a character who is blond, has small ears, and wears a black overcoat. The overcoat then says a few desultory words, whereupon the narrator takes several pages of pain to modify his original opinion in the light of this additional evidence.8 Like all parodies, these have some truth in them. But it is simplistic to describe his work in these terms — it amounts to painting in colors far too crude what is an enormously subtle picture of life. Powell's "easy modulations," as John Russell has called his novels,9 capture intricacies of human behavior and interaction in a profound and original way. And Powell's focus on ritual and the attempts of people to play chosen roles, ultimately provides a genuinely metaphysical, epistemological, ethical, and aesthetic interpretation of life. It is hopeless to try to provide a synopsis of the twelve volumes. The novels follow Nicholas Jenkins from his school days to late middle age. Friends such as Peter Templer, Charles... (shrink)

The Archaeology of Semiotics and the social order of things is edited by George Nash and George Children and brings together 15 thought-provoking chapters from contributors around the world. A sequel to an earlier volume published in 1997, it tackles the problem of understanding how complex communities interact with landscape and shows how the rules concerning landscape constitute a recognised and readable grammar. The mechanisms underlying landscape grammar are both physical and mental, being based in part on the (...) mindset of the individual; the same landscape can thus evoke different meanings for different people and at different times. People's perception has greatly influenced the construction of landscapes over millennia but, until recently, the potential of this area has been largely untapped. Apart from chapters focusing solely upon human interaction with landscape, there are several which skilfully integrate artefacts and place with landscape (e.g. Gheorghiu and Sognnes). Other chapters look at the way people have marked the landscape through such mechanisms as rock-art (e.g. Clegg, Devereux, Estévez, Fossati, Kelleher and Skier). Rock-art establishes personal and communal identity in relation to landscape and it is clear that other forms of visual expression were in place which distinctively created special places within the landscape. Landscape constructs can bind cultures together; bringing the old ways of reading the landscape into contemporary life (e.g. Smiseth). Defining early and late prehistoric landscapes and segregating these into, say, mundane domestic and ritualised spaces rely on both clear and subtle archaeologies and in this volume distinct monument clustering and ritualised linearity are considered (e.g. Mason and Nash). A volume such as this cannot escape the influence of New World approaches, such as anthropology, and in many respects chapters by Bender, Muller and Merritt give context to other chapters within the book. Finally, one must consider text as a means of constructing landscape and this is considered by Heyd, who eloquently deconstructs the travel diary of a 17th century Japanese poet. This will be an important volume for archaeologists, landscape scholars and students. The many approaches used are tried and tested, forming an invaluable resource and not just another edited book. (shrink)

Long before the phrases “climate change” and “butterfly effect” were incorporated into the mainstream literature, these phrases appeared in an appropriate context almost verbatim in the first Chapter of a book entitled “The Emigrant” published in the mid-nineteenth century by Sir Francis Bond Head. Head was Upper Canada’s sixth Lieutenant Governor under King George IV and Queen Victoria. Head claimed that forest wildfires were “changing the climate” of North America as manifested in a warming effect “on the thermometer”. In (...) that author’s account, these fires were provoked by First Nations to create fly-free zones meant to attract game that they could then hunt more readily. Head used language such as “swarms of little flies, strange as it may sound, are, and for many years have been, most materially altering the climate…” which is remarkably reminiscent of E. N. Lorenz’s “butterfly effect” of the theory of chaotic dynamical systems. The historical context and the rationales that may have led Head to use this contemporary environmental language in a proper context are briefly discussed. (shrink)

In an attempt to subject representative texts of a dozen ancient authors to a more or less Socratic inquiry, the noted scholar George Anastaplo suggests in The Thinker as Artist how one might usefully read as well as enjoy such texts, which illustrate the thinking done by the greatest artists and how they "talk" among themselves across the centuries. In doing so, he does not presume to repeat the many fine things said about these and like authors, but rather (...) he discusses what he himself has noticed about them, text by text. Drawing upon a series of classical authors ranging from Homer and Sappho to Plato and Aristotle, Anastaplo examines issues relating to chance, art, nature, and divinity present in the artful works of philosophers and other thinkers. As he has done in his earlier work, Anastaplo mines the great texts to help us discover who we are and what we should be. Some of the works used are familiar, while others were once better known than they are now. The approach to all of them is fresh and provocative, demonstrating the value of such texts in showing the reader what to look for and how to talk about matters that have always engaged thoughtful human beings. These imaginative yet disciplined discussions of important texts of ancient Greek thought and of Raphael's The School of Athens should appeal to both the specialist and the general reader. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In trying to say what modernism is , we must remind ourselves that it cannot and must not—to be properly described and understood—be confined only to the arts of music, literature, painting, sculpture, theater, architecture, those arts with which we normally associate the term “culture.” Modernism can be said to embrace, in the broadest terms, not only the arts of Western culture but also science, technology, the family, marriage, sexuality, economics, the politics of democracy, the politics of authoritarianism, the politics (...) of totalitarianism, and such academic disciplines as philosophy and the social sciences of sociology and anthropology . Its influence and effects have been all-pervasive. No corner of twentieth-century life has escaped its profound alteration of both the individual and society. It has radicalized all levels of human existence.What, then, is modernism?Some have described it as a state of “chronic revolution,” that is, revolution against the past, against tradition, against history itself. Others have pointed to its voracious appetite for innovation, for the search for the “new,” for the hunger to be “original”—to be the first and last with something unique and difference, whatever that something might be or in whatever area of human endeavor it might arise.Still others have characterized modernism as the application to all realms of human life of forms of structural rationalization, that is, finding rationally structured ways of being and doing regardless of consequences and, more especially, rationalizing away the mysteries and questions which have to do with meaning, that is, morality and ethics—those areas that lie outside the purely rational. And still others have viewed modernism as a condition of freedom within which the individual can be himself, unfettered and uninhibited, released from the drag of superego and conscience, a separate entity of being, unanswerable to others whether in the form of individuals or society as a whole.Last but not least, there are those who continue to see modernism as a self-perpetuating form of avant-gardism, always at the point of the interface between the present and the future, always ready to move on to the next stage because living itself is a process of constant change, constant motion, perpetual transformation. George Rochberg is the composer of a large body of musical works and the author of a recently published collection of essays, The Aesthetics of Survival, A Composer’s View of Twentieth-Century Music. He is currently writing his fifth symphony, on a commission from the Chicago Symphony Orchestra. In 1983 he retired from the University of Pennsylvania as Emeritus Annenberg Professor of the Humanities. (shrink)

Pursuing Trayvon Martin: Historical Contexts and Contemporary Manifestations of Racial Dynamics explores the historical implications of the fatal shooting of the unarmed black teen, Trayvon Martin, by George Zimmerman, in 2012. The book telescopes various themes that are important to a broad market, including race, masculinity, racial profiling, racist stereotyping, black youth and police violence, and racism.

This paper elucidates the notion that action is creative through the social imaginaries perspective. Hans Joas’s critique of sociological theories on action developed in The Creativity of Action (1996 [1992]) argued that creativity is an essential concept to better understand social action. Cornelius Castoriadis and Paul Ricoeur employ an understanding of action as being inextricably connected to the social imaginary and capable of bringing forth historically novel forms of being and doing. An elucidation of Castoriadis’s dichotomy between the instituted and (...) instituting imaginaries and Ricoeur’s distinction of the ideological and utopian poles of the cultural imagination bring to the surface points of convergence and divergence in their respective understandings of the social imaginary and historical novelty. Inspired by Joas’s critique of sociological theories of action through pragmatism, which is underlined by a critique of the philosophical anthropological assumptions held by structuralism, this essay argues that Castoriadis’s and Ricoeur’s distinct insights on the creative dimension of social action and the way in which social reality emerges can elucidate further an anti-structuralist philosophical anthropology that can help inform sociological theories of action. (shrink)