This article explores how scientists adapt to a changing climate. To do this, we bring examples from a case study of salmon habitat restorationists in the Columbia River Basin into conversation with concepts from previous work on change and stability in knowledge infrastructures and scientific practice. In order to adapt, ecological restorationists are increasingly relying on predictive modeling tools, as well as initiating broader changes in the interdisciplinary nature of the field of ecological restoration itself. We explore how the field (...) of ecological restoration is shifting its conceptual gaze from restoring to past, historic baselines to anticipating a no-analog future and consider what this means in terms of understanding the adaptive capacity of knowledge infrastructures and epistemic communities more broadly. We argue that identifying how scientists themselves conceptualize drivers of change and respond to these changes is an important step in understanding what adaptive capacity in science might entail. We offer these examples as a provocation for thinking about “adaptive epistemologies” and how adaptation by scientists themselves can facilitate or hinder particular environmental or sociotechnical futures. (shrink)

Courts have determined that adaptive management does not satisfy the Endangered Species Act's requirement to use the ‘best available science’. This is due, in part, to the failure to recognise the role of non-epistemic values in science. We examine the role of values in the legal controversy over the scientific reports and adaptive management plans for endangered salmon in the Columbia River Basin. To do this, we employ philosophical concepts related to risk and uncertainty that demonstrate how non-epistemic values are (...) internal to science. We describe how, because adaptive management is a method for dealing with inductive risk, by remaining flexible, responsive and adaptive in those circumstances where the costs of making a mistake are very high, it requires special attention to ensure that it remains useful. We conclude that, because non-epistemic values will inevitably influence the ‘best available science’, it is critical that they are clarified in any adaptive management planning so that we can ensure the salmon conservation that the ESA mandates. Fortunately, because adaptive management is iterative in nature and includes opportunities for engagement between policymakers and scientists, it enables clarification of non-epistemic values through making standards of evidence transparent, acknowledging aims and goals and dealing with uncertainty at the institutional level. (shrink)

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

Sense, Reference, and Philosophy develops the far-reaching consequences for philosophy of adopting non-Fregean intensionalism, showing that long-standing problems in the philosophy of language, and indeed other areas, that appeared intractable can now be solved. Katz proceeds to examine some of those problems in this new light, including the problem of names, natural kind terms, the Liar Paradox, the distinction between logical and extra-logical vocabulary, and the Raven paradox. In each case, a non-Fregean intentionalism provides a philosophically more satisfying solution.

In light of the sharp linguistic turn philosophy has taken in this century, this collection provides a much-needed and long-overdue reference for philosophical discussion. The first collection of its kind, it explores questions of the nature and existence of linguistic objects--including sentences and meanings--and considers the concept of truth in linguistics. The status of linguistics and the nature of language now take a central place in discussions of the nature of philosophy; the essays in this volume both inform these (...) discussions and lay the groundwork for further examination. (shrink)

This paper discusses knowledge of opposites. In particular, attention is given to the linguistic notion of antonymy and how it represents oppositional relations that are commonly found in perception. The paper draws upon the long history of work on the formalisation of antonymy in linguistics and formal semantics, and also upon work on the perception of opposites in psychology, and an assessment is made of the main approaches. Treatments of these phenomena in linguistics and psychology posit that the principles (...) of minimal difference and invariance are centrally important. It will be suggested that the standard approach employing meaning postulates fails to capture the relevant notion of antonymy, in part because it is not informed by these principles, and in part due to a number of other problems with this kind of approach, many of which may be overcome by building in the central principles from the beginning. The paper also discusses the issue of whether we can know that opposites necessarily exclude each other and, if so, how. This issue is intertwined with what is known as the colour incompatibility problem that Wittgenstein wrangled with at various times during his life. The paper assesses various solutions to these problems including an approach that was first put forward by Jerrold J. Katz. The relation between this approach and the theory of determinables and determinates is also examined. A further development upon this approach is proposed and then applied to the case of the formalisation of antonymy. It is argued that this approach avoids the problems suffered by the main approaches discussed earlier in the paper. (shrink)

It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a (...) position is most enviable for, no matter where the times may be going, it is a hallmark of greatness to be ahead of one's time. There were things to be explained, of course, Turner himself, a keen pessimist, did not approved of the future and had little use for the present.1 His love of art was schooled on Reynolds' Discourses, and he remained loyal to them; his poets were Thomson and Pope and, among contemporaries, the rather frigid but delicate Samuel Rogers, a classicist par excellence. Above all, however, Turner looked back to classical antiquity for training and guidance, and for the delectation of his heart. And the poetry of the ancients, such as he could obtain it in translation, was as important to him as their art. What does one do with a declared classicist whom a historicizing hindsight feels compelled to rescue as a man of the future by making him a Romantic? It is a challenge stylistic analysis likes to meet, for it goes beneath what it declares to be the surface of a work of art to find its style, the essence that must conform to the presumed spirit of the age in question. The triumphant result of such studies in depth is a forgone conclusion as much as it is a surprise to the uninitiated. The facade of the Louvre, for example, used to suffice to make it a building in the classical style; it took the acumen of a Wölfflin to prove that it really was "baroque." The more the artist struggled not to be of his time, the more, poor man, he betrayed to the analyst that he was of his time. The Louvre facade stands convicted of being "classicizing-baroque."2 · 1. On Turner's view of the modern art of his time see John Gage, Color in Turner: Poetry and Truth , pp.97-105. On his literary education and taste see the seminal essay by Jerrold Ziff, "Turner on Poetry and Painting, " Studies in Romanticism 3 no. 4 : 193-215. Turner's poetical writings have been edited by Jack Lindsay, The Sunset Ship: The Poems of J.M.W. Turner . For the most recent and also most elegantly practical introduction to the work and life of Turner, see the catalogue of the Turner Exhibition of the Royal Academy and the Tate Gallery, Turner, 1775-1851 . · 2. This is now a commonplace of art historical teaching. See, for example, Gardner’s Art Through the Ages, 6th ed. Horst de la Croix and Richard G. Tansey , p. 632. On the theory behind the application to the particular case, see Heinrich Wölfflin, Principles of Art History, trans. M. D. Hottinger . Philipp Fehl, artist and art historian, is currently preparing a collection of essays, Art and Morality: Studies in the History of the Classical Tradition. He is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting" was published in Summer 1979 in Critical Inquiry. (shrink)

The foundations of linguistics continue to generate philosophical debate. Jerrold Katz claims that the subject matter of linguistics consists of abstract objects and that, as a consequence, the discipline cannot be viewed as part of psychology. I respond by arguing (1) that Katz misinterprets work in the philosophy of mathematics which he believes sheds light on foundational questions in linguistics; (2) that he misunderstands aspects of Noam Chomsky's position, against whose conception of linguistics many of his claims are directed; (...) (3) that Katz fails to dispose of a much more plausible analysis, according to which linguistics remains an empirical inquiry in spite of its abstract subject matter; and, finally, (4) that his arguments against what he calls‘generativism’, appealing to the existence of an infinitely long grammatical sentence of English, are flawed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can seem to (...) have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

This volume brings together essays by leading philosophers of art who consider what can be learned from the meaning of art about society, morality, and life in general. This subject inevitably leads to discussion of other issues. Is art distinct from life? Is a concern with art's messages consistent with an appropriately aesthetic appreciation of its works? Is there anything distinctive about the manner in which art communicates its messages, or about the messages it conveys? The topic of art's social (...) and moral importance has always been a central one in aesthetics. However, whereas Plato and Schiller, for instance, viewed art as intimately implicated in a person's moral and social education, modernist theories have argued for art's autonomy and separation from worldly matters. The essays presented here provide a contemporary perspective on this long-standing debate and reveal the recent revitalization of humanist concerns in describing art and its significance. Contributors are Stephen Davies, Susan L. Feagin, T. J. Diffey, Jenefer Robinson, Gregory Currie, Peter Lamarque, Jerrold Levinson, David Novitz, Ismay Barwell, Göran Hermerén, and Richard Shusterman. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Valla Our Contemporary:Philosophy and PhilologyBrian P. CopenhaverEven before the Italians knew what to call their Renaissance, they knew the names of its heroes, one of whom was Lorenzo Valla. Accordingly, by the time Count Terenzio Mamiani della Rovere published one of the first modern histories of Italian philosophy in 1834, Valla's place in the story of that subject had long been established-for Italians, at least. "He began by (...) ridiculing blind trust in Aristotle's words," wrote Mamiani,and then went on to show how the highest categories and first predicables had been based on false assumptions, proving this by the correct meaning of terms, by the usage of speakers and by arguments from common sense. Valla overthrew the classifications of Porphyry in the same way. He shows how the basic rules of logic are simple and completely self-evident.1 [End Page 507]In tribute to Salvatore Camporeale of the Order of Preachers, I shall preach a sermon about this celebrated Italian philosopher. My text is an article on Valla that Campo published in 1986, and my contention is that Valla was a remarkably original thinker who has been much underrated in the Anglophone world, in part because he has not been read often enough or carefully enough in a contemporary philosophical framework.2The Philosopher's Index is the most important general bibliography for philosophers now writing in English. The on-line version that gives nearly four thousand references in five languages for Descartes, over nine thousand for Aristotle, and nearly ten thousand for Kant turns up only forty-two for Valla; twenty-five of these are in English, but only two are in major Anglophone journals of philosophy.3 I call that underrated and understudied.The first English-language entry for Valla in the Philosopher's Index dates from 1948, The Renaissance Philosophy of Man, a very influential book of readings (still in print) that presents Valla as a moral philosopher and Renaissance philosophy as not terribly important. The next entry, from 1964, refers to an equally influential book, Paul Kristeller's Eight Philosophers of the Italian Renaissance, one of whom is Valla, described by Kristeller not only as a moral philosopher but also, and more importantly, as a philosophical critic of logic and language.4 Around the same time, Hanna Gray, Jerrold Seigel, Charles Trinkaus, and others in this country had begun to study Valla's theory of language in more depth, and a few years later Camporeale's masterful book on Valla appeared in 1972.5Since Camporeale's book was then and is now the best account in any language of a brilliant philosopher, its absence from the Philosopher's Index indicates a kind of oblivion in Anglophone philosophy. In Europe and especially in Italy, by contrast, interest in Valla has been more or less continuous since his death in 1457. Mario Nizolio continued Valla's work in the sixteenth century, and both Valla and Nizolio were well known to Leibniz, who in turn [End Page 508] was the subject of an important book by Bertrand Russell in 1900.6 Russell's most popular work, however, was the History of Western Philosophy that he wrote much later, during the Second World War.7Many people have taken their bearings on the history of philosophy from Russell's exuberant History. Amazon.com still offers five editions by four publishers. And Amazon's rankings of sales of more recent accounts of the Renaissance period, the Cambridge History of Renaissance Philosophy and the Renaissance Philosophy volume of Oxford's History of Western Philosophy, lag far behind the figures for a single edition of Russell's broader treatment (8,970 Russell; 481,085 Cambridge; 507,316 Oxford).8Despite its great success, Russell's book does not do well by our topic. His treatment of the Renaissance is like Burckhardt directed by Victor Hugo and produced by Macaulay. Cardinals poison each other while free-thinking scholars entertain princes to procure patronage. Humanism meanwhile dozes under the rubble of antiquity, too dazed by the ruins to produce original philosophy. The only philosophical good to come from philology was its odium. Incessant squabbling about which ancient... (shrink)

ObjectivesThis study aims to systematically analyze the effects of mind–body exercises on post-traumatic stress disorder symptoms, depression, and anxiety in patients with PTSD. Furthermore, it intends to provide scientific evidence-based exercise prescriptions.MethodsChinese and English databases were used as data sources to search for studies on the effects of mind–body exercises on symptoms associated with patients with PTSD from January 1980 to November 2020. After a rigorous screening, 16 eligible randomized controlled trials were included in the meta-analysis.ResultsMind–body exercises exerted a significant (...) effect on PTSD symptoms [standard mean difference = −0.41, 95% confidence interval −0.64 to −0.19, p < 0.001], depression, and anxiety among patients with PTSD. Subgroup analysis demonstrated that 60–150 min per session for 8–16 weeks of mindfulness was more effective in improving symptoms in patients with PTSD under 45 years of age compared with other subgroups. For depression, 150–180 min of yoga exercises once per week was effective. For anxiety, the frequency, timing, duration, and type of mind–body exercises that are most effective in relieving anxiety in patients with PTSD cannot be determined at this time due to the limited number of eligible RCTs.ConclusionsMind–body exercises were found to be significantly effective in improving PTSD symptoms, depression, and anxiety in patients with PTSD. Therefore, they can be used as an adjunct to intervention for symptoms of patients with PTSD. However, this conclusion requires further confirmation through additional scientific and objective RCTs.Systematic Review Registration:Unique Identifier: INPLASY2020120072. (shrink)

A. A. Long; VI*—The Logical Basis of Stoic Ethics, Proceedings of the Aristotelian Society, Volume 71, Issue 1, 1 June 1971, Pages 85–104, https://doi.org/10.10.

This work contains Peter Long's important essay, Logic, Form and Grammar , which resolves many difficulties for the logical form of an argument where the reasoning is hypothetical. Also included are two essays on classical problems in philosophical logic, relating to logical form and formal relations.

To find more information about Rowman and Littlefield titles, please visit www.rowmanlittlefield.com.

What is the self? The question has preoccupied people in many times and places, but nowhere more than in the modern West, where it has spawned debates that still resound today. In this 2005 book, Jerrold Seigel provides an original and penetrating narrative of how major Western European thinkers and writers have confronted the self since the time of Descartes, Leibniz, and Locke. From an approach that is at once theoretical and contextual, he examines the way figures in Britain, (...) France, and Germany have understood whether and how far individuals can achieve coherence and consistency in the face of the inner tensions and external pressures that threaten to divide or overwhelm them. He makes clear that recent 'postmodernist' accounts of the self belong firmly to the tradition of Western thinking they have sought to supersede, and provides an open-ended and persuasive alternative to claims that the modern self is typically egocentric or disengaged. (shrink)

This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume include: Can (...) art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life? (shrink)

In the nearly one hundred years that have elapsed since Freud’s publication of his pioneering work with “Little Hans,” psychoanalysis has transformed not only our clinical work with children, but has immeasurably enriched our understanding of normal child and adolescent development as well as developmental deviations and derailments. We have gradually come to understand childhood and adolescence as a complex tapestry of developmental themes, conflicts, and crises; sometimes discontinuous or discrete, at other times, harmonious and integrated, yet always occurring within (...) a transactional matrix of environmental influences and internal experience. In this transdisciplinary anthology, eight authors explore the changing terrain of child and adolescent psychoanalysis and psychoanalytic therapy. The contributions, which reflect theoretical and clinical heterogeneity, are both innovative and varied, and range from the highly abstract and theoretical to those that consider very specific dimensions of clinical process. Collectively, they make a compelling case for the continued relevance of psychoanalytic ideas in the treatment of children and adolescents. With insightful contributions by expert psychoanalysts, clinical social workers, and clinical psychologists, Psychoanalytic Approaches to the Treatment of Children and Adolescents: Tradition and Transformation is essential reading for child and adolescent therapists. Psychoanalytic Approaches to the Treatment of Children and Adolescents will increase your knowledge of: the function of play in normal development--and within the treatment relationship psychoanalytic theories and research investigations linking early object loss to depression the nature of adolescent depression the theoretical and clinical dimensions of a two-systems approach to understanding psychopathology and the clinical process the dynamic meaning and clinical management of drug and alcohol abuse, promiscuity, eating disorders, violence, and other self-destructive behaviors the complexities of treating children with neuropsychological deficits. (shrink)

Suffering Art Gladly is concerned with the ostensibly paradoxical phenomenon of negative emotions involved in the experience of art: how can we explain the pleasure felt or satisfaction taken in such experience when it is the vehicle of negative emotions, that is, ones that seem to be unpleasant or undesirable, and that one normally tries to avoid experiencing? The question is as old as philosophical reflection on the arts, beginning with Plato and Aristotle, and subsequently addressed by Hume, Burke, Diderot, (...) Kant, and Schopenhauer, among others. Moreover, it is still an important and unresolved question in contemporary philosophy of art, where the discussion has been notably enlivened by recent research on the nature of imagination, cognition, and the emotions. Suffering Art Gladly comprises essays of two kinds, though the division between them is not airtight. The first kind are essays with a primarily historical focus, examining the problem of negative emotion from art as treated by important figures in the history of aesthetic thought, including Aristotle, Hume, Diderot, Kant, and Schopenhauer. The second kind are essays with a primarily contemporary focus, in which the methods and tools of contemporary analytic philosophy are much in evidence. In addition to the thirteen essays forming the heart of the book there is a general introduction by the editor, motivating the basic problem with which the essays are variously concerned and identifying the presuppositions or assumptions that are involved in different solutions to the problem. The individual essays are wide-ranging, dealing with a variety of artforms, negative emotions, and specific works of art, and the contributors, all recognized scholars in the field of aesthetics, are a mixture of junior and senior figures representing seven nationalities. (shrink)

(1E 1989) Veterinary ethics & religion/the law/moral theory/ animal rights/farm food & performance animal practice/etc.

In _Realistic Rationalism_, Jerrold J. Katz develops a new philosophical position integrating realism and rationalism. Realism here means that the objects of study in mathematics and other formal sciences are abstract; rationalism means that our knowledge of them is not empirical. Katz uses this position to meet the principal challenges to realism. In exposing the flaws in criticisms of the antirealists, he shows that realists can explain knowledge of abstract objects without supposing we have causal contact with them, that (...) numbers are determinate objects, and that the standard counterexamples to the abstract/concrete distinction have no force. Generalizing the account of knowledge used to meet the challenges to realism, he develops a rationalist and non-naturalist account of philosophical knowledge and argues that it is preferable to contemporary naturalist and empiricist accounts. The book illuminates a wide range of philosophical issues, including the nature of necessity, the distinction between the formal and natural sciences, empiricist holism, the structure of ontology, and philosophical skepticism. Philosophers will use this fresh treatment of realism and rationalism as a starting point for new directions in their own research. (shrink)

In _Realistic Rationalism_, Jerrold J. Katz develops a new philosophical position integrating realism and rationalism. Realism here means that the objects of study in mathematics and other formal sciences are abstract; rationalism means that our knowledge of them is not empirical. Katz uses this position to meet the principal challenges to realism. In exposing the flaws in criticisms of the antirealists, he shows that realists can explain knowledge of abstract objects without supposing we have causal contact with them, that (...) numbers are determinate objects, and that the standard counterexamples to the abstract/concrete distinction have no force. Generalizing the account of knowledge used to meet the challenges to realism, he develops a rationalist and non-naturalist account of philosophical knowledge and argues that it is preferable to contemporary naturalist and empiricist accounts. The book illuminates a wide range of philosophical issues, including the nature of necessity, the distinction between the formal and natural sciences, empiricist holism, the structure of ontology, and philosophical skepticism. Philosophers will use this fresh treatment of realism and rationalism as a starting point for new directions in their own research. (shrink)

Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art and (...) philosophy and in the claim that aesthetics is a central area of philosophy. First of all, it is worth noting that, even if the philosophy of art has not played a role in the systems of all the indisputably great philosophers, or even of most of them, it has occupied an important place in the thought of quite a few, among them Plato, Aristotle, Hume, Kant, Schopenhauer, Nietzsche, Hegel and Sartre. And a good number of philosophers of lesser rank—including Croce, Collingwood, Dewey, Bergson, Santayana, Gadamer and, evidently, Schelling, also had a philosophy of art; one finds them perhaps more interested in it than in, say, ethics. Why this natural, even if not inevitable, link between philosophy and art? (shrink)

Green evaluates the efficacy of USAID against the ethical and practical issues likely to influence its future success.

In a recent paper devoted to my topic, music and morality, my fellow philosopher of music Peter Kivy makes a helpful tripartite distinction among ways in which music could be said to have moral force. The first is by embodying and conveying moral insight; Kivy labels that epistemic moral force. The second is by having a positive moral effect on behavior; Kivy labels that behavioral moral force. And the third is by impacting positively on character so as to make someone (...) a better human being; Kivy labels that character-building moral force. (shrink)

JHI essays on Durkheim, Wittgenstein, Spengler et al and their theories on society versus the individual.

Chomsky's criticism of Bloomfieldian structuralism's conception of linguistic reality applies equally to his own conception of linguistic reality. There are too many sentences in a natural language for them to have either concrete acoustic reality or concrete psychological or neural reality. Sentences have to be types, which, by Peirce's generally accepted definition, means that they are abstract objects. Given that sentences are abstract objects, Chomsky's generativism as well as his psychologism have to be given up. Langendoen and Postal's argument in (...) The Vastness of Natural Languages to show that there are more than denumerably many sentences is flawed. But, with the view that sentences are abstract objects, the flaws can be corrected. Once psychologism and generativism are abandoned, the revolution against Bloomfieldian structuralism can be brought to completion and linguistics can be put on a sound philosophical basis. (shrink)

The combination of rhetoric and philosophy appeared in the ancient world through Cicero, and revived as an ideal in the Renaissance. By a careful and precise analysis of the views of four major humanists-Petrarch, Salutati, Bruni, and Valla—Professor Seigel seeks to establish that they were first of all professional rhetoricians, completely committed to the relation between philosophy and rhetoric. He then explores the broader problem of the "external history" of humanism, and reopens basic questions about Renaissance culture. He departs from (...) the views held by such scholars as Hans Baron and Lauro Martines and expands the conclusions suggested by Paul Oskar Kristeller. The result is a stimulating, controversial study that rejects some of the claims made for the humanists and indicates achievements and limitations. Originally published in 1968. 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)

The debate on animal research has entered a new phase, involving a reevaluation of the moral status of animals, a detailed examination of the biological and philosophical meaning of animal pain and suffering, and a closer examination of the benefits of different types of knowledge. We need a clearer understanding of the ethical issues in animal research to provide the groundwork for public policy.