C.A. Macdonald's incisive note, ‘On the Unifier-Multiplier Controversy', gave me fresh thoughts regarding the method of actindividuation which he defends against Jonathan Bennett's and my own misgivings. I believe a second look at the Reductive Unifying account, in light of Macdonald's apology for it, will help us size up the issues, notably those involving causation and time.I shall follow previous debaters and dwell upon examples of mayhem, where one individual kills another by carrying out a more rudimentary action. Here is (...) Donald Davidson's case. A queen murders her royal husband by emptying a vial of poison into his ear as he sleeps. To be exact: she rotates her wrist, and the lethal drug cascades toward his ear. (shrink)

Does anyone still believe in romantic love? The enormous number of romance novels consumed by American women would seem to indicate that the faith lives on . ...

For more than six decades, and for thousands of students, Introduction to Logic has been the gold standard in introductory logic texts. In this 15th Edition, Carl Cohen and Victor Rodych update Irving M. Copi's classic text, improving on its many strengths and introducing new and helpful material that will greatly assist both students and instructors.

This article argues that Hayek employed a neo-Roman concept of liberty. It will show that Hayek’s definition of liberty conforms to that provided by Philip Pettit and Quentin Skinner, respectively...

Introduction to Logic is a proven textbook that has been honed through the collaborative efforts of many scholars over the last five decades. Its scrupulous attention to detail and precision in exposition and explanation is matched by the greatest accuracy in all associated detail. In addition, it continues to capture student interest through its personalized human setting and current examples. The 14th Edition of Introduction to Logic, written by Copi, Cohen & McMahon, is dedicated to the many thousands of students (...) and their teachers - at hundreds of universities in the United States and around the world - who have used its fundamental methods and techniques of correct reasoning in their everyday lives. (shrink)

First published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

"In this concluding volume of his impressive study of the history of Western thought about the nature of love, Irving Singer reviews the principal efforts that have been made by 20th-Century thinkers to analyze the phenomenon of love.... [T]he bulk of the book is taken up with critical accounts of the modern thinkers who have systematically called into question the possibility itself of love as a union of distinct human selves. For the most part, these critiques are effectively executed, (...) and they bring a high level of critical acumen to bear on skeptical theses about love that are now too often accepted as truisms."—Frederick A. Olafson, _Los Angeles Times Book Review_ "Irving Singer... has developed a method of historical analysis flexible enough to deal with all kinds of love, from Greek homosexual love in Plato, to the _philia_ and _agape_ of the New Testament, to the courtly love of medieval romance, to the Romantics, for whom love was magic.... [This] final volume brings us to the present. In 'The Modern World,' Singer offers readings of Freud, Proust, and Sartre, among others. He shows how their work was formed in reaction to the 19th-century ideal of 'merging' of the identities of lover and beloved. More often than not, the great modern writers portray love as impossible, as a field of failure and regret.... This masterpiece of critical thinking is a timely, eloquent, and scrupulous account of what, after all, still makes the world go round."—Thomas D'Evelyn, _Christian Science Monitor_ "This is the third of a three-volume history of the philosophy of love. It begins with Kierkegaard, Tolstoy, and Nietzsche in the nineteenth century and treats Freud, Proust, Bergson, D. H. Lawrence, G. B. Shaw, Santayana, Sartre, and others in the twentieth. Although the author's approach is primarily historical, he intersperses critical remarks throughout. Most of the major themes which are discussed by philosophers of love make their way into this history, including friendship, sexual love, and the distinction between love that is based on the value of the beloved and love that bestows value on the beloved. Singer devotes a number of pages to his own views on falling in love, being in love, and staying in love.... Singer's exposition is lucid and organized; his criticisms are insightful."—_Ethics_ "In this third volume of historical overview of the development of the Western conception of love, Singer uses writers, philosophers, and psychologists to provide the reader with an overview of love in the late 19th and 20th century.... Analyzing authors such as Tolstoy, Proust, D. H. Lawrence, and Shaw and philosophers such as Nietzsche, Kierkegaard, Sartre, and Santayana, as well as Freud, Singer... links each contributor's thoughts to the influence of previous writers and also provides some psycho-historical insight into their personal lives that might have been either a source or direct result of their views. In this final volume, Singer proceeds to look at not just the 'great men' influence but also provides a chapter overviewing scientific contributions to our understanding of love.... Singer's work is a significant contribution to understanding the social construction of important, abstract social and personal values. By tracing love through different historical periods through a variety of voices, Singer has created a rich history of the struggle between the ideal and the real, between the dreams of what love should provide and the reality of what relationships have been in each historical period. By personalizing the voice through psychohistorical analysis, Singer also provides insight into the shaping of ideas through the intimate struggles of the shapers."—Mark V. Chaffee, _Contemporary Psychology_. (shrink)

In this book Irving Zeitlin re-examines the work of this important philosopher and considers how we should assess Nietzsche's claims today.

Philosophers, psychologists, and economists have reached the consensus that one can use two different kinds of regulation to achieve self-control. Synchronic regulation uses willpower to resist current temptation. Diachronic regulation implements a plan to avoid future temptation. Yet this consensus may rest on contaminated intuitions. Specifically, agents typically use willpower (synchronic regulation) to achieve their plans to avoid temptation (diachronic regulation). So even if cases of diachronic regulation seem to involve self-control, this may be because they are contaminated by synchronic (...) regulation. We therefore developed a novel multifactorial method to disentangle synchronic and diachronic regulation. Using this method, we find that ordinary usage assumes that only synchronic––not diachronic––regulation counts as self-control. We find this pattern across four experiments involving different kinds of temptation, as well as a paradigmatic case of diachronic regulation based on the classic story of Odysseus and the Sirens. Our final experiment finds that self-control in a diachronic case depends on whether the agent uses synchronic regulation at two moments: when she (1) initiates and (2) follows-through on a plan to resist temptation. Taken together, our results strongly suggest that synchronic regulation is the sole difference maker in the folk concept of self-control. (shrink)

... Press for their editorial perspicacity, to the National Institutes of Health for the partial financial support they gave me while I was writing some of the chapters, and to Donald Michie for suggesting the title Good Thinking.

Attribution theorists assume that character information informs judgments of blame. But there is disagreement over why. One camp holds that character information is a fundamental determinant of blame. Another camp holds that character information merely provides evidence about the mental states and processes that determine responsibility. We argue for a two-channel view, where character simultaneously has fundamental and evidential effects on blame. In two large factorial studies (n = 495), participants rate whether someone is blameworthy when he makes a mistake (...) (burns a cake or misses a bus stop). Although mental state inferences predict blame judgments, character information does not. Using mediation analyses, we find that character information influences responsibility via two channels (Studies 3–4; n = 447), which are sensitive to different kinds of information (Study 5; n = 149). On the one hand, forgetfulness increases judgments of responsibility, because mental lapses manifest an objectionable character flaw. On the other hand, forgetfulness decreases judgments of state control, which in turn decreases responsibility judgments. These two channels cancel out, which is why we find no aggregate effect of forgetfulness on responsibility. Our results challenge several fundamental assumptions about the role of character information in moral judgment, including that good character typically mitigates blame. (shrink)

In 1984, Irving Singer published the first volume of what would become a classic and much acclaimed trilogy on love. Trained as an analytical philosopher, Singer first approached his subject with the tools of current philosophical methodology. Dissatisfied by the initial results, he turned to the history of ideas in philosophy and the arts for inspiration. He discovered an immensity of speculation and artistic practice that reached wholly beyond the parameters he had been trained to consider truly philosophical. In (...) his three-volume work The Nature of Love, Singer tried to make sense of this historical progression within a framework that reflected his precise distinction-making and analytical background. In this new book, he maps the trajectory of his thinking on love. It is a "partial" summing-up of a lifework: partial because it expresses the author's still unfolding views, because it is a recapitulation of many published pages, because love--like any subject of that magnitude--resists a neatly comprehensive, all-inclusive formulation. Adopting an informal, even conversational, tone, Singer discusses, among other topics, the history of romantic love, the Platonic ideal, courtly and nineteenth-century Romantic love; the nature of passion; the concept of merging ; ideas about love in Freud, Schopenhauer, Nietzsche, Dewey, Santayana, Sartre, and other writers; and love in relation to democracy, existentialism, creativity, and the possible future of scientific investigation. Singer's writing on love embodies what he has learned as a contemporary philosopher, studying other authors in the field and "trying to get a little further." This book continues his trailblazing explorations. (shrink)

Preface to the Irving Singer library edition -- Preface to the Johns Hopkins edition -- Preface -- Introduction: Our human predicament -- The meaning of life : rephrasing questions -- The meaning of death -- The creation of meaning -- Lives of meaning and significance -- Conclusion: The love of life.

In Reality Transformed Irving Singer offers a new approach to the philosophy of film. Returning to the classical debate between realists and formalists, he shows how the opposing positions may be harmonized and united. He accepts the realist claim that films somehow "capture" reality, but agrees with the formalist belief that they transform it. Extending his earlier work on meaning in art and life, he suggests that the meaningfulness of movies derives from techniques that re-create reality in the process (...) of presenting it to viewers who have learned how to appreciate the aesthetics of cinematic transformation. (shrink)

Preface to the Irving Singer library edition -- Preface -- Introduction: Love and meaning -- Two myths about love -- Persons, things, ideals -- Sexual love -- Love in society -- Religious love -- Civilization and autonomy -- Love, and do as you will.

Philosophers have long been fascinated by the stream of consciousness––thoughts, images, and bits of inner speech that dance across the inner stage. Yet for centuries, such “mind-wandering” was deemed private and thus resistant to empirical investigation. Recent developments in psychology and neuroscience have reinvigorated scientific interest in the stream of thought, leading some researchers to dub this “the era of the wandering mind”. Despite this flurry of progress, scientists have stressed that mind-wandering research requires firmer philosophical foundations. The time is (...) therefore ripe for the philosophy of mind-wandering. Our review begins with a foundational question: what is mind-wandering? We then investigate the significance of mind-wandering for general philosophical topics, namely mental action, introspection, and the norms of thinking and attention. (shrink)

Christian Democracy, which may briefly be defined as organised political action by Catholic democrats, has been a major political force in Western Europe since the Second World War, not least in France. The aim of this book, first published in 1973, is to trace the Development of Christian Democracy in France from its origins in the 1830s to the present day, discussing its theories and its importance in French history and politics, with particular reference to the Fourth Republic when the (...) MRP was one of the key centre parties. Dr Irving provides a thorough analysis of MRP, its economic, foreign and colonial policies, and gives reasons for the relative decline of French Christian Democracy in the 1960s. This French movement has been little understood in Britain and a throrough history has been badly needed. This study will be valuable to all those who, in the context of a United Europe, wish to understand the political forces at work at its conception. It will be valuable especially to students of modern history and politics. (shrink)

Perhaps the central question in action theory is this: what ingredient of bodily action is missing in mere behavior? But what is an analogous question for mental action? I ask this: what ingredient of active, goal-directed thought is missing in mind-wandering? My answer: attentional guidance. Attention is guided when you would feel pulled back from distractions. In contrast, mind-wandering drifts between topics unchecked. My unique starting point motivates new accounts of four central topics about mental action. First, its causal basis. (...) Mind-wandering is a case study that allows us to tease apart two causes of mental action––guidance and motivation. Second, its experiential character. Goals are rarely the objects of awareness; rather, goals are “phenomenological frames” that carve experience into felt distractions and relevant information. Third, its scope. Intentional mind-wandering is a limit case of action where one actively cultivates passivity. Fourth, my theory offers a novel response to mental action skeptics like Strawson. (shrink)

本书内容涉及古典主义与浪漫主义的概念,浪漫主义的天才,浪漫主义的想象,浪漫主义的的爱情,浪漫主义的嘲讽,浪漫主义和自然,浪漫主义的忧郁等.

Although mind-wandering occupies up to half of our waking thoughts, it is seldom discussed in philosophy. My paper brings these neglected thoughts into focus. I propose that mind-wandering is unguided attention. Guidance in my sense concerns how attention is monitored and regulated as it unfolds over time. Roughly speaking, someone’s attention is guided if she would feel pulled back, were she distracted from her current focus. Because our wandering thoughts drift unchecked from topic to topic, they are unguided. One motivation (...) for my theory is what I call the “Puzzle of the Purposeful Wanderer”. On the one hand, mind-wandering seems essentially purposeless; almost by definition, it contrasts with goal-directed cognition. On the other hand, empirical evidence suggests that our minds frequently wander to our goals. My solution to the puzzle is this: mind-wandering is purposeless in one way—it is unguided—but purposeful in another—it is frequently caused, and thus motivated, by our goals. Another motivation for my theory is to distinguish mind-wandering from two antithetical forms of cognition: absorption and rumination. Surprisingly, previous theories cannot capture these distinctions. I can: on my view, absorption and rumination are guided, whereas mind-wandering is not. My paper has four parts. Section 1 spells out the puzzle. Sections 2 and 3 explicate two extant views of mind-wandering—the first held by most cognitive scientists, the second by Thomas Metzinger. Section 4 uses the limitations of these theories to motivate my own: mind-wandering is unguided attention. (shrink)

Our paper serves as an introduction to a budding field: the philosophy of mind-wandering. We begin with a philosophical critique of the standard psychological definitions of mind-wandering as task-unrelated or stimulus-independent. Although these definitions have helped bring mind-wandering research onto centre stage in psychology and cognitive neuroscience, they have substantial limitations that researchers must overcome to move forward. Specifically, the standard definitions do not account for (i) the dynamics of mind wandering, (ii) task-unrelated thought that does not qualify as mind-wandering, (...) and (iii) the ways that mind-wandering can be task-related. We then survey three philosophical accounts that improve upon the current psychological definitions. We first present our account of mind-wandering as “unguided thinking”. Next we review Thomas Metzinger’s view that mind-wandering can be defined as thought lacking meta-awareness and cognitive agency, as well as Peter Carruthers’s and Fabian Dorsch’s definitions of mind-wandering as disunified thinking. We argue that these latter views are inadequate, and we show that our definition of mind-wandering as unguided thinking is not only conceptually and phenomenologically precise but also can be operationalized in a principled way for empirical research. (shrink)

Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal relationship with (...) the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films--including La Belle et la Bête, Orphée, and The Testament of Orpheus--as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8½. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals--both secular and religious--that have had enormous significance throughout the human search for love and meaning in life. (shrink)

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.