Art has not always had the same salience in philosophical discussions of ethics that many other elements of our lives have. There are well-defined areas of "applied ethics" corresponding to nature, business, health care, war, punishment, animals, and more, but there is no recognized research program in "applied ethics of the arts" or "art ethics." Art often seems to belong to its own sphere of value, separate from morality. The first questions we ask about art are usually not about its (...) moral rightness or virtue, but about its beauty or originality. However, it is impossible to do any serious thinking about the arts without engaging in ethical questions. (shrink)

I argue that intentionalist theories of perceptual experience are unable to explain the phenomenal character of perceptual experience. I begin by describing what is involved in explaining phenomenal character, and why it is a task of philosophical theories of perceptual experience to explain it. I argue that reductionist versions of intentionalism are unable to explain the phenomenal character of perceptual experience because they mischaracterize its nature; in particular, they fail to recognize the sensory nature of experience’s phenomenal character. I argue (...) that nonreductionist versions of intentionalism are unable to explain the phenomenal character of perceptual experience because, although they recognize its sensory nature, they mislocate it. (shrink)

The American University Publications In From its inception Philosophy has continued the direction stated in the sub-title of the initial volume that of probing new directions in philosophy. As the series has developed these probings of new directions have taken the two fold direction of exploring the relationships between the disparate traditions of twentieth century philosophy and with developing new insights into the foundations of some enduring philosophic problems. This present volume continues both of these directions. The interaction between twentieth-century (...) Anglo-Saxon and Continental philosophy which was an implicit theme of our first and third volumes and the explicit subject of our second volume is here continued in a series of studies on major figures and topics in each tradition. In the context of these interpretative studies, Professor Durfee returns again and again to the question of the relationships between the will and the reason, and explores the conflicting goals of creativity and objectivity in formulating a philosophic position. In so doing he raises the issue as his title suggests - of the foundations of philosophy itself. He seriously challenges the belief common to both pheomenology and analytic philosophy that philosophizing can be a presuppositionless activity, objectively persued independent of the personal (and, perhaps, arbitrary) commitments of the philosopher. This issue, critical as it is to all forms of philosophy, is surely a worthy one for a series such as ours. (shrink)

Kaplan suggests that these major figures works are linked by the myths of genesis of a new political culture.

© British Society of Aesthetics 2018. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] adaptation of literary works into films has been almost completely neglected as a philosophical topic. I discuss two questions about this phenomenon:What do we mean when we say that a film is faithful to its source?Is being faithful to its source a merit in a film adaptation?In response to, I set out two distinct (...) senses of fidelity: story fidelity and thematic fidelity. I then argue, in response to, that thematic fidelity, but not story fidelity, is an aesthetic merit in a film adaptation. The key steps in this argument involve showing that merely preserving the story from one medium to another does not typically involve an aesthetically... (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 lieu of an abstract, here is a brief excerpt of the content:Baudelaire’s Satanic VersesJonathan Culler (bio)Paul Verlaine was perhaps the first to declare the centrality of Baudelaire to what we may now call modern French studies: Baudelaire’s profound originality is to “représenter puissament et essentiellement l’homme moderne” [599–600]. Whether Baudelaire embodies or portrays modern man, Les Fleurs du mal is seen as exemplary of modern experience, of the possibility of experiencing or dealing with what, taking Paris as the exemplary (...) modern city, we have come to call the modern world. T. S. Eliot wrote, “Baudelaire is indeed the greatest exemplar in modern poetry in any language, for his verse and language is the nearest thing to a complete renovation that we have experienced. But his renovation of an attitude towards life is no less radical and no less important” [426]. And outside the field of literature we find such affirmations as Harold Rosenberg’s dating of “the tradition of the New” to Baudelaire, “who exactly one hundred years ago invited fugitives from the too-narrow world of memory to come aboard with him in search of the new” [11]. Baudelaire, writes another critic, “did more than anyone else in the nineteenth century to make the men and women of his century aware of themselves as moderns.... If we had to nominate a first modernist, Baudelaire would surely be the man” [Berman 132–33].There seems to be considerable agreement on this point, but, surprisingly, there is great difference of opinion about what it is that makes Baudelaire modern and worthy of special attention. Is it, as Albert Thibaudet and Walter Benjamin argue, that he was the first true poet of the city, the first to take the alienated experience of life in the modern city as the norm? Or is it, as Leo Bersani claims, that Baudelaire discovered and displayed the mobility of fantasy and of the desiring imagination? Or is it, as Paul de Man maintains, that Baudelaire invents modern self-consciousness about poetry itself, producing poems that allegorically expose the operations of the lyric?There are many competing accounts of what is most particularly modern and important about Baudelaire, but the one thing on which contentious critics seem to agree is that there is a side of Baudelaire that is of no interest today, that belongs to a bas romantisme and is the very antithesis of Baudelaire’s modernity, of Baudelaire the founder of modern poetry: this is the Baudelaire who invokes demons and the Devil. Most critics today pass over this in silence, but even those who explicitly address this Baudelaire seem to find him an embarrassment. Even the author of a book entitled The Demonic Imagination: Style and Theme in French Romantic Poetry begins his chapter on Baudelaire: “Baudelaire has, by now, ceased to interest us for the reasons which once appeared important: his diabolical Catholicism is a familiar, historical mode of sensibility which neither shocks nor has morbid appeal...” [Houston 85]. And Fredric Jameson distinguishes the modernist and the postmodernist Baudelaires—both worthy of our attention—from what he calls the “second-rate post-Romantic Baudelaire, the Baudelaire [End Page 86] of diabolism and of cheap frisson, the poet of blasphemy and of a creaking and musty religious machinery that was no more interesting in the mid-nineteenth century than it is today” [427].But Baudelaire called his collection “Les Fleurs du mal” and opens it with a poem that declares, “C’est le Diable qui tient le fils qui nous remuent [it’s the Devil who holds the strings that move us]” [OC 1: 5; FE 5]. Can this be dismissed as an irrelevancy—something mistakenly appended to this quintessentially modern poetry? That critics of such different orientations should agree in shunting aside the Satanic Baudelaire suggests that there is something worth investigating here, something disquieting and embarrassing, which may not in fact be merely trivial—which may complicate the story of modernity that has come to depend on Baudelaire as its originator. Perhaps the Satanic Baudelaire would tell us things about modernity we don’t want to know.Certainly the idea of the Devil seems fundamentally at odds with accounts of modernity. Even Christianity itself seems to... (shrink)

Logicism is, roughly speaking, the doctrine that mathematics is fancy logic. So getting clear about the nature of logic is a necessary step in an assessment of logicism. Logic is the study of logical concepts, how they are expressed in languages, their semantic values, and the relationships between these things and the rest of our concepts, linguistic expressions, and their semantic values. A logical concept is what can be expressed by a logical constant in a language. So the question “What (...) is logic?” drives us to the question “What is a logical constant?” Though what follows contains some argument, limitations of space constrain me in large part to express my Credo on this topic with the broad brush of bold assertion and some promissory gestures. (shrink)

This article proposed a hermeneutical analysis of the story “Embargo” by José Saramago, part of the book The lives of things, based on Paul Ricœur's proposal for textual understanding. To do this, the two basic hermeneutical movements that, according to the French philosopher, are part of this task, explain and interpret, are taken as a starting point. In this aspect, the explanation is assumed as the exercise of finding the meaning in the story and this aims to find the links (...) that exist between its constituent parts and the work as a whole. In turn, interpretation is understood as the process of updating and appropriation of the work by the reader, in such a way that it is possible for him to incorporate it into his life experience in the act of reading. Thus, the hermeneutical exercise was carried out by appealing to categories taken from narratology that allow the explanation: to reveal the internal relationships of the narrative structure, while at the same time arguing the hypothesis or interpretive horizon that is proposed for the story: the world of dreams as an alternative reality that confronts the dreamer with his wishes and hopes, but also with his fears and anguish of living. (shrink)

In his interesting article, Michael Burke (1996) offers a novel solution to the puzzle of Tibbles, the cat, a solution he says, which is based on Aristotelian essentialism. In what follows I argue that, despite its ingenuity, Burke’s solution can be seen to be too implausible to be accepted once we extend it to a variant of the puzzle Burke himself suggests. The conclusion must be that one of the other solutions to the puzzle must be correct. Or, perhaps, that (...) there is no correct solution and that we should simply (to use a Wittgensteinian turn of phrase) ‘say what we like as long as we are clear about the facts.’. (shrink)

This Article examines the question of whether and how religion and law can work together in responding to the global challenge of population pressure, excess consumption, and environmental degradation. Part I suggests that while law can change the pattern of consumption, it is religion which has the ability to change how much we consume and how we reproduce. In the post-Cairo, post-Beijing world, female theologians and feminist nongovernmental organizations have already begun the process of changing consumption and reproduction patterns by (...) the production of new theology on population and consumption that is being picked up by grassroots movements around the world. Examples are offered from Islam, Judaism, Christianity, Buddhism, and Hinduism. In Part II, this question is asked: Does the modern liberal state in its policy and law pose an obstacle to the engagement of the world's religions in dealing with the population-consumption-ecology problematic? The Article suggests that unless a way is found of extending ethical standing beyond the autonomous individual to the collective, law does pose an obstacle to engaging the help of religion in dealing with the population-consumption-ecology problematic. (shrink)

Psychology, philosophy and common sense -- Psychological empiricism (part A): do non-empirical psychological phenomena exist? -- Psychological empiricism (part B): a critique -- The subject matter of psychology (part A): the conscious personal self -- The subject matter of psychology (part B): differing kinds of psychic phenomena -- Locating the empirical in psychology -- Human nature and rational psychology -- Psychology, truth and personalism -- The reality and psychological significance of freedom.

Thrasyllus, best known as the Roman emperor Tiberius' astrologist, figured prominently in the development of ancient Platonism. How prominently and to what effect are questions that have puzzled philosophers down to our day; Harold Tarrant's important new book attempts to answer them.

Considered ahead of its time since the first publication in 1981, Medical Choices, Medical Chances provides a telescope for viewing how developments in the fields of medical research, medical technology, and health care organization are likely to influence the doctor-patient relationship in the 21st Century. The book explores this intricate web of relationships among doctors, patients, and families and offers a new framework for mastering the emotional and intellectual challenges of uncertainty, while at the same time providing tools for all (...) concerned to regain control from managed care. It is a must-read for all those interested in medicine and where it is headed in the new millennium. (shrink)

I respond to criticisms by David Mackie of my previous paper on animalism and Lockeanism. I argue that the ‘transplant intuition’, that a person goes where his brain (or cerebrum) goes, is compatible both with animalism and Lockeanism. I give three arguments for this conclusion, two of them developing lines of thought in Parfit's work. However, I accept that animalism and Lockeanism are incompatible, and I go on to consider the difficulties for Lockeanism that this raises. The principal difficulty, concerning (...) the reference of ‘I’, can be met by distinguishing the thinker of an ‘I’‐thought from the reference of an ‘I’‐thought. The reference is always the person thinking the thought, but when the thought is simultaneously that of an animal coincident but non‐identical with that person, there is not a unique thinker. Mackie's criticisms of this view are ineffective. (shrink)

31 chapters covering the Old Academy to Late Antiquity. See attached TOC.

In lieu of an abstract, here is a brief excerpt of the content:Awful Patriotism: Richard Rorty and the Politics of KnowingDavid Palumbo-Liu* (bio)Richard Rorty. Achieving Our Country: Leftist Thought in Twentieth-Century America. Cambridge: Harvard UP, 1998.This essay addresses the current debates surrounding what some have labeled the Two Lefts: a “cultural left” and an activist left. 1 Debate over this “divide” has made many strange bedfellows, but perhaps none quite so unheimlich as “liberal leftist” Richard Rorty and cultural conservative (...) class='Hi'>Harold Bloom. To be sure, Rorty has often alluded to Bloom’s work, especially Bloom’s notion of “strong poets,” but in his most recent book, Rorty has appropriated Bloom in a particularly telling manner. In 1994, Harold Bloom published his polemic The Western Canon. At once eloquent and pathetic, it pressed all the right buttons. Bloom succinctly (or shall we say, reductively?) deployed his version of the “aesthetic” against any other approach. Cultural conservatives were gratified that someone of Bloom’s stature had done them the service of voicing their interests in a highly visible and contestatory manner; more moderate sorts squirmed uncomfortably at Bloom’s unabashed elitism and the shrillness of his tone; theorists and cultural studies folks were outraged at Bloom’s absolute ignorance of their work and his resort to parody instead of anything vaguely resembling an engaged critique; and ethnic, minority, queer, and feminist critics had more than enough to be insulted by in his racist and sexist arrogance. So far out is Bloom’s jeremiad that it probably came close to realizing his worst nightmare—it may have driven students screaming into all those horrid cultural studies classes to find out what was so seductive, so powerful as to corner The Canon. So I didn’t worry too much about The Western Canon. That is, until I read Richard Rorty’s essay “The Inspirational Value of Great Works of Literature” and its companion pieces in Achieving Our Country: Leftist Thought in Twentieth-Century America. What was Rorty, a self-proclaimed leftist, doing, calling to his aid the social and cultural archconservative Harold Bloom?In the first part of my essay I ponder this strange alliance, particularly as it joins forces against ethnic studies (to be sure, its common target is more generally “theory” of any stripe or color, but I want specifically to address the issue of ethnic literary study). Rorty adapts Bloom’s School of Resentment to characterize what he calls a certain, bad “knowingness,” against which he poses “hope” and “inspiration.” I want to examine more closely the nature and content of that destructive “knowledge,” for it becomes clear that [End Page 37] this knowledge is for Rorty the recognition of Otherness as a politically (as opposed to “merely” ontologically) functional identity. This knowledge is disturbing to Rorty and deeply informs his notions of “patriotism” and Americanism. For him, such knowledge impedes the formation of a leftist politics. It is precisely the disjunction between the “knowing” discourse of the cultural left obsessed with identity politics and an activist political left (modeled after the old reformist left) that troubles Rorty.My essay will be largely devoted to showing how Rorty’s recent work develops his earlier work on “ethnocentrism” into an “Americanism” that erodes precisely the liberal foundations of that earlier work and discloses the weakness of its claims. I understand this development as compelled by a certain impatience with identity politics that is shared by a number of liberal and leftist critics of American political society, an impatience fueled perhaps not so much by a conservative threat as by a perceived threat from “within” progressive politics. Basically, I ask, how and why are knowledge and recognition of “difference” taken to immobilize progressive politics? To frame that same question in a slightly different manner—what is the presumed content of that “progressive” politics, and what assumptions do we have to make in order to arrive at that point of view?Against the rather odd Bloom/Rorty pairing, set against “knowledge,” one would naturally seek out an enemies list for possible allies. Rorty in fact begins his essay by providing us with one in the figure of Fredric Jameson, an archpractitioner of theory whose “antiromantic” skepticism Rorty finds both debilitating and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Postmodernism:A Self-InterviewIhab HassanThe following interview did not take place in Ihab Hassan's study in Milwaukee, with a view of Lake Michigan, rippling turquoise, blue, and mauve under a sky of fluffy paratactical clouds.Interviewer: You are sometimes known as the Father...Hassan: Please! At most, the Godfather of Postmodernism, though I don't know who the Godmother is. Maybe Madam Hype?I: Why hype?H: Because postmodernism began as a genuinely contested idea and (...) is fading as a form of media hype.I: Can you define it, however tentatively?H: I would prefer not to. In fact, I cannot, no more than I can define romanticism or modernism in a sentence or paragraph. Such definitions are best left to some onomastic genius. Once, I offered a table of features contrasting modernism with postmodernism. Once is quite enough.I: Why is that?H: Because it was as widely cited as pounced upon, nearly everyone ignoring my pointed disclaimer: "Yet the dichotomies this table represents remain insecure, equivocal. For differences shift, defer, even collapse; concepts in any one vertical column are not all equivalent; and inversions and exceptions, in both modernism and postmodernism, abound."I: Well, if we can't define postmodernism, how can we talk about it? [End Page 223]H: The way we talk about everything else: say, freedom, justice, love, spirit, happiness.... We talk about postmodernism by using the word in various verbal contexts—Wittgenstein would have said "language games"—and seeing what happens.I: What happens?H: Some discussions engage postmodernism and clarify it in certain perspectives, without actually defining it: for instance, the works of Hans Bertens, Charles Jencks, Andreas Huyssen, even Fredric Jameson....I: Why even Jameson?H: Because Marxism has a tenuous relation to contemporary reality, as everyone knows except some Western academics.I: Some would say that the entire phenomenon of postmodernism is an exercise of Western academics.H: That's a bit of a non sequitur but true enough, true up to a point. Remember, the phenomenon has overflowed its theoretical origins to become a kind of ironic cultural awareness, a mode of historical reflexivity—if you wish, a perpetually anxious exercise in self-definition.I: But Western, always Western, right?H: Japan has contributed vigorously to postmodernism, especially in art and architecture. So, instead of saying "Western," let's say high-tech, mass-media, omni-consuming societies.I: That, in effect, excludes four fifths of the world, wouldn't you say?H: Yes—and no. You see, cultural postmodernism has mutated into geopolitical postmodernity. By the latter, I mean both globalization with its thousand faces (multinational capitalism, cyber technology, cultural imperialism, "Americanization"), and counter-globalization with as many masks (local knowledge, old cultural traditions, postcolonial ideologies, anti-Western resentments). It's the monster phenomenon of our time.As I have written a good deal about this phenomenon, most recently in Angelika, I won't repeat myself here. The point, however, is that postmodernity is a planetary process, postmodernism is not.I: That suggests a political dimension, which some say you have slighted in your work. How would you respond to that criticism?H: Writing in the late sixties and early seventies about postmodernism, I lacked the benefits of hindsight. For instance, I focused on high culture, Beckett and Borges and Nabokov and Barthelme and Barth. I did not foresee then that postmodernism would become a media phenomenon, involving pop and kitsch. And I recognized the emergent process of globalization only in the Seventies, in Paracriticisms (1975).But I "slighted" the political only in the sense that I did not give it [End Page 224] priority, did not make it an "absolute horizon." In fact, I believe that a primary emphasis on politics flattens, impoverishes our lives. The current paradigm in the humanities ignores the inner cost of "politics."I: Forgive me, but that's another example of what some colleagues in the profession perceive as your contrary or cross-grained character. Can you explain why politics impoverishes our lives?H: Conformists—remember Harold Rosenberg's quip about "the herd of independent minds"?—are quick to discover perversity everywhere. But never mind that. The gravamen is that politics... (shrink)

A clarification of Naess's ?depth metaphor? is offered. The relationship between Naess's empirical semantics and communication theory and his deep ecology approach to ecophilosophy (DEA) is developed. Naess's efforts to highlight significant conflicts by eliminating misunderstandings and promoting deep problematizing are focused upon. These insights are used to develop the implications of the DEA for environmental policy. Naess's efforts to promote the integration of science, ethics, and politics are related to the National Environmental Policy Act (NEPA). The action?oriented aspect of (...) deep ecology, its focus upon redirecting environmental policy, is also highlighted. The discussion is framed by Brian Norton's contention, in Toward Unity Among Environmentalists, that Naess's deep/ shallow distinction is not consequential. In the final section some of the uniqueness of Naess's contribution is intimated, the ?sturdiness? of deep ecology's foundation is considered, and directions for future theoretical and practical contributions are suggested. As will be observed, Naess has many important insights to offer, but some vexing issues persist. (shrink)

William Thomson, later Lord Kelvin, played a major role in the nineteenth century in changing scientific theory from the statical view, associated with imponderables, to the dynamical view which conceived of energy as a separate and convertible entity. Thomson's conversion from the statical to the dynamical view of nature was due to the influence of experimentalists, Michael Faraday and James Prescott Joule. It was Thomson's use of mathematical metaphor that enabled him to interpret on a theoretical level the physical explanation (...) given by Faraday and Joule. (shrink)

I prove that the Boolean Prime Ideal Theorem is equivalent, under some weak set-theoretic assumptions, to what I will call the Cut-for-Formulas to Cut-for-Sets Theorem: for a set F and a binary relation |- on Power(F), if |- is finitary, monotonic, and satisfies cut for formulas, then it also satisfies cut for sets. I deduce the CF/CS Theorem from the Ultrafilter Theorem twice; each proof uses a different order-theoretic variant of the Tukey- Teichmüller Lemma. I then discuss relationships between various (...) cut-conditions in the absence of finitariness or of monotonicity. (shrink)