To what extent are the answers to theological questions knowable? And if the relevant answers are knowable, which sorts of inquirers are in a position to know them? In this chapter we shall not answer these questions directly but instead supply a range of tools that may help us make progress here. The tools consist of plausible structural constraints on knowledge. After articulating them, we shall go on to indicate some ways in which they interact with theological scepticism. In some (...) cases the structural constraints bear directly on whether one can know answers to theological questions. But the structural considerations are related to theological scepticism in other interesting ways as well; for instance we will also be using them to explore the significance of scepticism, by addressing questions such as ‘To what extent does it matter whether or not we can know the answer to theological questions?’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 273-295 [Access article in PDF] Billy Budd:Melville's Dilemma Lester H. Hunt I THE CHAIN OF EVENTS NARRATED in Herman Melville's Billy Budd, Sailor (An Inside Narrative)—how Billy is falsely accused of plotting mutiny by his Master-at-Arms, John Claggart, how Billy accidentally kills Claggart and, finally, is executed at the urging of the Captain of the Ship, Edward Fairfax Vere, (...) despite Vere's personal conviction that Billy does not deserve to be killed—is simple enough. The text itself, nonetheless, is troublesomely complex. It is a very difficult work to interpret with both honesty and confidence. Melville unflinchingly represents to us the moral horror of what Captain Vere does to Billy, and yet he also depicts Vere himself with a respect that borders on admiration. The attentive reader experiences a painful cognitive dissonance that can only be soothed by a coherent interpretation, and perhaps by a bit of philosophy.Given the way in which the text of Billy Budd emerged—it was assembled by scholars, long after Melville's death, from a confusing collection of manuscript pages he had left behind when he died—it may well be an unfinished work. It is possible that ill health and death overtook Melville before he had a chance to iron out the inconsistencies that inevitably arise as a book is written, and it is therefore also possible that some of our sense of dissonance is produced by this brute fact. 1 Whether or not this is the case, this book is, according to the view I will present here, at least very close to being coherent. The point of view it represents is actually quite appropriate to an unfinished work, and little damaged by textual indeterminateness. Billy Budd is about the inescapably dilemmatic nature of certain choices. It alleges the impossibility of resolving them in any comfortable way. Melville beckons us to [End Page 273] look through the window of Billy Budd into an abyss of undecidability, and perhaps a text that contains some chaos within itself will better serve as such a window than one that does not.The best way to begin trying to understand how we should take this work is to begin at its very beginning. The very beginning of a story is of course its title, and the title of this story, or more exactly its subtitle, tells quite literally what sort of story it is. It is an "inside" narrative. Of course, this immediately raises the question of what an inside narrative is. Inside what? Are we supposed to contrast it with an outside narrative? And what sort of story would that be?Melville does not leave us entirely without an answer to this question. Billy Budd does contain another story, one that contrasts so sharply with the main narrative that it might well be described as its opposite: it is virtually an inverted version of the book's plot. In an "authorized weekly publication" quoted at some length at the end of the book, the events of Melville's tale are briefly recounted. In this version of the story, apparently the only officially sanctioned one, Billy Budd is depicted as the ringleader of a genuine mutiny, who "vindictively stabbed" Claggart for exposing him. Claggart is motivated only by a "strong patriotic impulse" and Billy Budd by "extreme depravity."This account, Melville tells, us was written "for the most part" sincerely enough, "though the medium, partly rumor, through which the facts must have reached the writer served to deflect and in part falsify them" (1432.27-30). 2 It could be called an "outside" narrative in virtue of the fact that its author was not there and consequently was not in a position to know what actually happened. The most direct way to give literal meaning to the "inside" status of Melville's main narrative is simply to observe that it gives a view from inside the ship, from inside the Bellipotent. It represents things that were known by people who were there, and precisely because they were there.This... (shrink)

I begin with the story told by Herman Melville in his short novel, Billy Budd.The year is 1797. Britain is engaged in a long and bitter war against France, and the British war effort has been threatened by two naval mutinies: the Nore Mutiny and the mutiny at Spithead. The scene is His Majesty’s Ship, the Indomitable, and the central character is Billy Budd, sailor. Billy Budd is a young man of exceptional beauty, both physical and moral, (...) whose only flaw is a stammer. He is loved by all his fellow sailors except the master-at-arms, John Claggart. The incarnation of evil, Claggart recognises in Billy the incarnation of goodness, and is consumed by a jealousy which leads him to accuse Billy (falsely) of inciting the crew to mutiny. Alone with Claggart and the ship’s Captain, Edward Vere, Billy hears the lying charge against him. He is enraged, but his stammer prevents him from responding in words. He strikes Claggart, and the blow is fatal. Billy Budd, sailor, has killed the master-at-arms of one of His Majesty’s ships on active service, and the penalty for this is death. (shrink)

The history of the modern oil industry begins along Oil Creek in August 1859 when Edwin Drake and Billy Smith found petroleum at the bottom of their well. Over the next decade and a half, Petrolia, the name given to this region in northwest Pennsylvania, produced more oil than anywhere else on earth. In the process, Petrolia became a massive industrial site and a vivid cultural image. Understanding this profound dual transformation is the object of Brian Black's sensitively drawn (...) portrait of the landscape of America's first oil boom.A landscape, according to Black, is a place where culture and nature meet, and in the 1860s a devastating crash occurred when the natural oil of Oil Creek met the commercial demand for lamp and machine oil. Oil Creek had been a quiet, lightly populated agricultural region whose sense of place was entirely self‐constructed by the local farmers. After Drake's discovery, the area became a place of unprecedented exploitation whose identity was hastily assembled by the thousands of outsiders that flooded the area looking for work, riches, or an exciting newspaper story. Petrolia soon became a mythic boom, a mania, a craze. Distant capitalists and recently arrived entrepreneurs painted fantastic pictures of endless and easy wealth. Oil became a prized commodity, and everything else—animals, plants, people, and even the creek itself—became expendable in a single‐minded market designed to pump as much oil as fast as possible. There seemed no legal, economic, or natural limitation to the exploitation—or to the boom mentality. Petrolia became the very embodiment of greed and speculation, instantaneous wealth and sudden failure. Its mores were as ephemeral as its transient population.All this is grist for Black's ethical mill, and he grinds it well, perhaps too relentlessly. There is no doubt that looking at the exploitation of oil from the obliteration of the wooded valleys, or the filth of boomtown streets, or the emptiness of ghost towns reveals a sacrificial landscape—an environment abused, wasted, ruined, and despoiled in pursuit of profit. Certainly Black is on firm ground when he ties what happened in Petrolia to what happened in Gilded Age America as a whole, but he may overstate the case when he argues that “industrial rationalization would never allow … humanitarianism to penetrate the utilitarian logic of Petrolia” .Was the logic of oil so ruthless and the motives of the Petrolians so shortsighted as to miss what was happening around them and what they were doing to themselves? They took photographs, after all. They criticized and complained endlessly about the mud, the floods, and the fires. Certain towns curbed land speculation, restricted development, and preserved a sense of community. And capitalists, by definition investors who try to reduce risk, worked to bring stability to petroleum production and prices. Black describes these valiant if sometimes vain efforts to restrain the oil rush. But taken together, they seem to suggest more of a struggle—communities versus companies, humanitarianism versus utilitarianism—than Black acknowledges.Many of those involved in the seeming chaos that was Petrolia wanted the oil industry to become a permanent, predictable branch of mining. This was especially true for the engineers, scientists, and other petroleum experts. To this end, Black provides a useful sketch of the technology of oil production along with a brief explanation of petroleum geology. He concludes, however, that none of these experts had much effect on the problems. “Science and technology were clearly tools of industry in Petrolia” .To an extent. In Black's account, the oil “industry” was a collective evil. Equal parts cultural and economic, it acts like a numberless, faceless mob, gripped by “oil on the brain” and motivated by an all‐pervasive ethic of progress and an insatiable drive to make money. It reduces to the sharp end of a rod used to bore through the earth for oil—environmentally insensitive and destructive. As an analytical device, however, “industry” is a blunt tool. Not all wells struck oil, not all companies manipulated knowledge and technique to their own purpose. Experts learned quite a bit and quite quickly about the habits of oil. The divining rod was not the most acceptable method of exploration . Again, there was more of a struggle—sci‐tech versus random wildcatting—than Black allows.The suggestion of situated struggles, however, does not detract from Black's larger theme. Petrolia was environmental hell. Black has rendered this nightmarish landscape into a powerful and at times passionate story about the physical changes to the land and its meaning . If there is a lesson to be found in Petrolia, it is that the modern oil industry is truly an American creation. (shrink)

From the Federal Theater Projects of the Great Depression to the disruptive performances of the 1960s and 1970s, theater has played an important role in American radicalism. This special issue of_ _Theater_ reports on socially conscious, politically active theaters in the United States. Despite the evaporation of Cold War passions and the rise of conservatism in the 1980s and 1990s, such theater work remains a persistent and evolving presence on the political landscape. Since the first inauguration of George W. Bush, (...) new opportunities have arisen for political performance and for significant new challenges to these artists. T_heater and Social Change_ not only tracks the historical evolution of political theater but also explores the current state and future prospects of different modes, including agit-prop, demonstrations, solo performance, Augusto Boal’s Theater of the Oppressed, and community-based production. With such notable contributors as Anna Deavere Smith, Jonathan Kalb, Holly Hughes, and Tony Kushner, the issue offers a diverse assemblage of personal statements, conversations, photographs, interviews, and performance text. _Contributors include:_ Reverend Billy, Jan Cohen-Cruz, Arlene Goldbard, Sharon Green, Lani Guinier, Holly Hughes, Jonathan Kalb, Tony Kushner, Judith Malina, Robbie McCauley, John O'Neal, Claudia Orenstein, Bill Rauch, Julie Salverson, Anna Deavere Smith, Alisa Solomon, Roberta Uno. (shrink)

God, Revelation and Authority by Carl Henry is one of the most important evangelical theological works of the twentieth century. Published between 1976 and 1983, it shaped the evangelical movement in countless ways and is still widely read, studied, and appreciated as a clear statement of evangelical beliefs contra liberalism and neo-orthodoxy. What you need to know is that God, Revelation and Authority is a key resource for understanding, teaching and defending many doctrines central to evangelicalism, including biblical inerrancy. It's (...) no accident that the list of endorsers for these books reads like a Who's Who of evangelical Christianity. If you want to have a better grasp of evangelical theology and its formation, there's no better place to begin than God, Revelation and Authority. Carl F. H. Henry was a central religious figure of the 20th century. In a 2004 article, Christianity Today stated that Carl Henry, along with Billy Graham and Boston pastor Harold John Ockenga, "practically invented what later became known as evangelicalism." He also helped found and served as the first editor for Christianity Today. God, Revelation and Authority is Henry's magnum opus. It contains the developed ideas of this prominent thinker on topics that include infallibility and inerrancy, divine revelation in nature, historical criticism, the Holy Spirit, the Church, and biblical history. It also includes the "Chicago Statement on Biblical Inerrancy" which for many years within evangelical circles has been an authoritative declaration regarding inerrancy. Later in life, Carl Henry spent a great deal of time considering the related concepts of religious knowledge and the doctrine of God. He concluded that, "if we humans say anything authentic about God, we can do so only on the basis of divine self-revelation; all other God-talk is conjectural." This basic premise underlies the entirety of God, Revelation and Authority. As you read God, Revelation and Authority you will see how many of the ideas in these six volumes have been enormously influential in shaping the beliefs and "distinctives" shared by evangelicals all over the world. - Publisher. (shrink)

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development (...) of jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms. Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals. This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible. (shrink)

The Starz series Black Sails, while serving as a prequel to Treasure Island and thus providing intriguing backstories for such characters as James Flint, Billy Bones, and (of course) Long John Silver, portrays a realistic account of early eighteenth century pirate life in the Caribbean. In doing so, the show conveys intriguing insights into and applications of social contract theory reasoning, and both explicitly and implicitly asks questions about how those applications, especially as they pertain to the nature (...) of government, democracy, equality, tolerance, and justice, help us understand our own society more fully. (shrink)

Levack, John Having just read another poem about how a city-bred agnostic finds God after spending a weekend away in the Australian bush..

John Milton was not only the greatest English Renaissance poet but also devoted twenty years to prose writing in the advancement of religious, civil and political liberties. The height of his public career was as chief propagandist to the Commonwealth regime which came into being following the execution of King Charles I in 1649. The first of the two complete texts in this volume, The Tenure of Kings and Magistrates, was easily the most radical justification of the regicide at (...) the time. In the second, A Defence of the People of England, Milton undertook to vindicate the Commonwealth's cause to Europe as a whole. They are central to an understanding both of the development of Milton's political thought and the climax of the English Revolution itself. This is the first time that fully annotated versions have been published together in one volume, and incorporates a wholly new translation of the Defence. The introduction outlines the complexity of the ideological landscape which Milton had to negotiate, and in particular the points at which he departed radically from his sixteenth-century predecessors. Further aids to students include a full chronology of Milton's life and important contemporary events, a select bibliography and biographies of persons mentioned in the text. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PLATO'S STATESMAN STORY: THE BIRTH OF FICTION RECONCEIVED by John Tomasi In "Plato's Atlantis Story and the Birth of Fiction," Christopher Gill wants to distinguish the story ofAdantis in the Critias from Plato's earlier stories—like diat in the Statesman.1 These stories, Gill claims, belong to different literary genres. While the Statesman story is but another example of fable, the Adantis story of the Critias represents the first example—the (...) first in Plato and indeed the earliest in all Western written culture—of an exciting new literary genre: narrative fiction. Gill describes narrative fiction as a kind ofgame into which the author invites his audience to join. The invitation to play the game of fiction is an invitation "to share in the willing and conscious acceptance of the false as true" (p. 65). The audience is provided the opportunity to become "willfully self-deceived" about the story's truth. Perhaps the main constraint on a story's belonging to the genre of fiction is the author's ability to transmit this special invitation to his reader. Gill says one major way to do this is by a framework of introductory signals which are mixed in a certain way. The Adantis story, as Gill claims, seems to be framed with signals that a self-deception game is about to begin. Socrates says Critias is like a playwright competing in front of an audience (108a). Gill reads line 107 to mean that Critias is concerned direcdy with "the problem of giving his narrative the illusory realism which he says audiences require." Also, Gill says, "the fact that it is a game is signalled by the overt claim to historical truth in a context in which we are not disposed to accept the claim" (p. 72). Plato thus introduces the Adantis story with a delicate mixture ofconflictingclaims about the story's factual status. Gill suggests the reader should interpret this special mixture of signals as being a Philosophy and Literature, © 1990, 14: 348-358 John Tomasi349 sort of invitation to "make pretend," to play a pleasant game, to allow die reader to become willfully self-deceived. Within die Adantis story itself diere are further marks of die fiction genre. Narrative fiction can be a compelling game, and good fiction writers often slip into the game themselves, writing with a concern for detail and with a word choice so sensitive that the reader may feel that die writer too must believe in this fictional world. The Adantis story certainly exhibits this mark of fiction. As Gill puts it, in writing about Adantis Plato seems at times to have become "momentarily infatuated with the world he is creating."2 Such infatuation, exhibited especially perhaps in the detailed descriptions in the Critias of the splendors of the Adantean city and in the passionate portrayal of the growth of hubris in the citizens' hearts, is perhaps what gives the Adantis story some of its special potency, what makes it especially gripping to us (116c—ll7e; 121a-c). Clearly, it is a story with which writer as well as reader might develop an intimate relationship. In Plato's Atlantis story the framing signals are mixed with a deliberate subtlety, and the reader at times senses the writer's infatuation with his own tale. The Adantis story is thus crafted to get from the reader what Plato is after: "a willed self-deception, a chosen suspension ofincredulity for the duration of the story." Gill concludes, "This new element of intended complicity in the fictional game makes his work the first piece of deliberately fictional narrative in Greek literature" (p. 76). Gill's argumentthat the Adantis story belongs to the genre ofnarrative fiction is provocative and on the whole convincing. But is the Adantis story really the first Western instance of that genre? Is it even Plato's first attempt at fiction? I think it is not. I would like now to examine the storywithin the Statesman, a storywhich Gill says was probablywritten before the Adantis story. Might the Statesman story be a still earlier instance of narrative fiction? The signals framing the Statesman story are mixed indeed. At first, the Stranger tells young Socrates that... (shrink)

An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, Harper contends that abstractionism shows (...) up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation. (shrink)

In Reshaping Reason, John McCumber breathes new life into American philosophy. Moving past the tired divide between "analytic" and "continental" camps, he proposes new directions to unite a discipline which has become more unfocused and invisible. McCumber recommends a new set of rational tools to enable philosophers and then puts these tools to work to redefine epistemology, ontology, and ethics. Reshaping Reason explores philosophy's achievements and failures in a cold light and paves the way for the discipline to become (...) more meaningful and relevant to society at large. (shrink)

John Robertson; XV*—Hume on Practical Reason, Proceedings of the Aristotelian Society, Volume 90, Issue 1, 1 June 1990, Pages 267–282, https://doi.org/10.1093/a.

I have three aims in this essay. I want to offer an example of an interdisciplinary historical inquiry combining literary criticism with the relatively new field of critical legal studies. I intend to use this historical inquiry to argue that the ambiguity of literary texts might better be understood in terms of an era’s social contradictions rather than in terms of the inherent qualities of literary language or rhetoric and, conversely, that a text’s ambiguity can help us expose the contradictions (...) masked by an era’s dominant ideology. I try to prove my assertion by applying my method to Herman Melville’s three most famous short works—“Benito Cereno,” “Bartleby, the Scrivener,” and Bill Budd, Sailor—works dealing with the law and lawyers and widely acknowledged as ambiguous.1 I will base my critical inquiry into these stories on Melville’s relationship with his father-in-law, Lemuel Shaw, who, while sitting as the chief justice of the Supreme Judicial Court of Massachusetts from 1830 to 1860, wrote some of the most important opinions in what Roscoe Pound has called “the formative era of American law.”2Before I get started, I should clarify what this study does not entail. By using Shaw and his legal decisions in conjunction with Melville’s fiction, I am not conducting a positivistic influence study. My method will not depend on the positivist assumption that Shaw’s legal opinions can be used to illuminate Melville’s texts only when his direct knowledge of Shaw’s opinions can be proved. Nor will I limit myself to a traditional psychoanalytic reading: my emphasis is on political and social issues, and too often these issues are deflected by translating them into psychological ones. At the same time, I recognize that critics concerned with political and social issues too often neglect questions raised by a writer’s individual situation. I compare Shaw to Melville not to reduce Melville’s politics to psychology but to prevent a political study from neglecting the political implications of psychology, to remind us—as the title of Fredric Jameson’s book The Political Unconscious reminds us—that psychological questions always have political implications. 1. See Herman Melville, “Benito Cereno,” “Bartleby,” and Billy Budd, Sailor, “Billy Budd, Sailor” and Other Stories, ed. Harold Beaver ; all further references to these works will be included in the text.2. See Roscoe Pound, The Formative Era of American Law . For discussions of Melville and Lemuel Shaw, see Charles Roberts Anderson, Melville in the South Seas, Columbia University Studies in English and Comparative Literature, no. 138 , pp. 432-33; Charles H. Foster, “Something in Emblems: A Reinterpretation of Moby-Dick,” New England Quarterly 34 : 3-35; Robert L. Gale, “Bartleby—Melville’s Father-in-Law,” Annali sezione Germanica, Istituto Universitario Orientale di Napoli 5 : 57-72; Keith Huntress, “ ‘Guinea” of White-Jacket and Chief Justice Shaw,” American Literature 43 : 639-41; Carolyn L. Karcher, Shadow over the Promised Land: Slavery, Race and Violence in Melville’s America , pp. 9-11 and 40; John Stark, “Melville, Lemuel Shaw, and ‘Bartleby,’ “ in Bartleby, the Inscrutable: A Collection of Comentary on Herman Melville’s Tale “Bartleby the Scrivener,” ed. M. Thomas Inge , all further references to this work, abbreviated JA, will be included in the text. Brook Thomas teaches English and American literature at the University of Hawaii, Manoa. He is the author of James Joyce’s “Ulysses”: A Book of Many Happy Returns and is at work on a study of the relations between law and literature in antebellum America. (shrink)

Collins, John Francis; Carroll, Sandra In the April 2012 edition of The Australasian Catholic Record John Duiker presented a useful overview and history of the Catholic Charismatic Renewal titled 'Spreading the Culture of Pentecost in the Midst of Disenchantment.' According to Duiker the CCR as an ecclesial movement 'has its origins in a retreat that was held at Duquesne University in Pittsburgh, Pennsylvania in the USA in February 1967.' Describing this event as a Pentecost experience Duiker writes that (...) the movement that was started by this event 'spread to other college campuses and continued to spread right across the world, and now exists in over 220 countries and has touched the lives of over 120 million Catholics.' Duiker's article draws on Charles Taylor's thesis that our post-enlightenment Western culture has been emptied-out of the idea of God's providence leading to 'a diminishing of the necessity of grace and a fading of the sense of mystery.' Duiker then presents a case for CCR being recognised 'as an example for the re-enchantment of a post-Enlightenment secular world.'. (shrink)

Collins, John Francis; Carroll, Sandra The publication of the 'Norms for the Formation of Permanent Deacons and Guidelines for the Ministry and Life of Permanent Deacons' by the Australian Catholic Bishops Conference, in August 2016, has renewed focus on the role of permanent deacon. This article uses a heuristic structure to discuss the role of the permanent deacon in the Catholic Church in Australia. It then provides a historical perspective and background on the worker priest movement from the mid-twentieth (...) century to explore the possibility of its application to the contemporary role of permanent deacon. (shrink)

_Screen, Culture, Psyche_ illuminates recent developments in Jungian modes of media analysis, and illustrates how psychoanalytic theories have been adapted to allow for the interpretation of films and television programmes, employing Post-Jungian methods in the deep reading of a whole range of films. Readings of this kind can demonstrate the way that some films bear the psychological projections not only of their makers but of their audience, and assess the manner in which films engage the writer’s own psyche. Seeking to (...) go beyond existing theories, John Izod explores the question of whether Jungian screen analysis can work for ordinary filmgoers - can what functions for the scholar be said to be true for people without a background in Jung’s ideas? Through detailed readings of a number of films and programmes, John Izod builds on the work previously done by Jungian film analysts, and moves on to contemplate the level of audience engagement. Offering deep readings of films directed by Kubrick and Bernardo Bertolucci, as well as satirical comedy, documentaries and twenty-first century Westerns, the book explores the extent to which they manage to make the psychological impact on spectators that films of a similar kind have done on Jungian writers. The author concludes that the screen texts with the best likelihood of impacting the culture of the audience through their collective psychological force fall at opposite ends of the size and budget range: highly personal documentaries, and the most affecting of mainstream genre movies. This innovative text will be essential reading for psychoanalysts and therapists, as well as students and scholars of film with an interest in understanding how screen products work psychologically to engage the viewer. (shrink)

Over the years I have written a number of articles critiquing Transcendental Thomism both from philosophical and from textual points of view. In the course of these articles, I have made comments on Bernard J. F. Lonergan’s epistemology. These comments have caught the eye of Jeremy D. Wilkins, and have provoked his article, “A Dialectic of ‘Thomist’ Realisms: John Knasas and Bernard Lonergan.” The violence of Wilkins’s reaction leads me to believe that despite the passing nature of my comments, (...) they are sufficiently incisive to have cut a nerve. Nevertheless, it is my opinion that no reader of Wilkins would come away with any accurate grasp of my understanding of Lonergan, my reasons for it, and the precise point of contention between us. So, both for the record and the benefit of calm discussion of this influential figure, I would like to provide my hermeneutic of Lonergan and to pinpoint my trouble with him. To this end, I will repeat some descriptions of Lonergan from a recently published monograph, Being and Some Twentieth-Century Thomists (New York: Fordham University Press, 2003), and then address the criticisms of Wilkins. (shrink)

Leading Harvard philosophy professor William Ernest Hocking , author of 17 books and in his day second only to John Dewey in the breadth of his thinking, is now largely forgotten, and his once-influential writings are out of print. This volume, which combines a rich selection of Hocking's work with incisive essays by distinguished scholars, seeks to recover Hocking's valuable contributions to philosophical thought.

This article is the basis of an invited talk at KR-96 in 1996 November. It has been modified from the version that appeared in the preprints of that meeting. There is an html version, a.dvi version,.pdf version and a.ps version. Up to: Main McCarthy page Up to: Send comments to mccarthy @stanford.edu. I sometimes make changes suggested in them. - John McCarthy.

Donald M. MacKinnon has been one of the most important and influential of post-war British theologians and religious philosophers. Generally eclectic, frequently allusive, usually intellectually generous, persistently richly challenging and always astonishingly erudite, he had a significant impact on the development and subsequent theological work of the likes of Rowan Williams, Nicholas Lash, David Ford and John Milbank. A younger generation largely emerging from Cambridge, but with influence elsewhere, has more recently brought MacKinnon's normally occasionalist writing to a larger (...) audience worldwide where it is beginning to receive noteworthy attention. In this collection several of MacKinnon's most outstanding papers not yet published in book format is collected together with an Editorial Introduction by a former student of one of MacKinnon's own students. They range from his reflections on theology as educational, the nature of moral reasoning, considerations of ecclesial practice, dogmatics and hope. Here is another reminder of MacKinnon's intellectual brilliance. (shrink)

Art of seeing, John Rajchman argues in his essay, was in the center of Michel Foucault’s critical attention as well as practice. Foucault himself was a visual thinker and writer. More importantly, however, the ways in which historically changing vision determines not only what is seen, but what can be seen, are one of his major concerns. Rupture with self-evidences is then the first step one must take to make the invisible – yet not hidden – power visible. Th (...) e invisibility of power, seen as the invisible light that makes other things visible, is what makes it tolerable. Knowledge and the practice of knowing themselves are constructed by the technology of the visual, such as the diff erent types of spaces that bring about specific visibility. In Foucault’s histories, the prison or the clinic are such spaces that have visualized criminality, sexuality or madness in particular manner. However, problematization of these things needs to go beyond new ways of looking at them and has to question their entire field of vision. This implies that Foucauldian ethics is less concerned with what we do about things themselves, instead, it rather asks how we see them in the first place and how can they be seen differently. It thus requires not to look within us, on the contrary, we should look out, from outside of ourselves. (shrink)

John Stuart Mill is the philosopher of liberalism. Or so some people think. Others disagree; they may give that status to Locke, or (perhaps) to Kant. Or they may think the question frivolous and insist – boringly but, I cannot deny, sensibly – that no one thinker is the philosopher of liberalism.

Thornhill, John Shortly after completing my article, 'Reflections on the Gospel: after Reading Christopher Dawson', I read for the first time, C.H. Dodd's Gospel and Law, lectures given at Columbia University in 1950. This challenging work by a leading scholar prompted me to make the comparison between Protestant and Catholic approaches to the Gospel I have attempted in the present article.

Thornhill, John The evolution of Catholic culture in the modern era, with its maturing historical awareness, brings a new self-understanding better able to enter into a productive relationship with an emerging world culture. This sums up the main argument of this article.

John Drummond; Foucault for Students of Education, Journal of Philosophy of Education, Volume 34, Issue 4, 7 March 2003, Pages 709–719, https://doi.org/10.1111/.

John Frame gives us an accessible introduction to "triperspectival" study-where theological issues are fruitfully viewed from multiple perspectives without compromise to their unity and truth. Book jacket.

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 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. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Nietzsche's Voices, the latest volume of John Sallis's Collected Writings, presents his two-semester lecture course on Nietzsche offered in the Philosophy Department of Duquesne University during the school year 1971-72. "Nietzsche is easy to read; his is apparently the easiest of all the great philosophies. Yet the easy intelligibility is deceptive. Nietzsche's writings make us believe we have understood when in fact we have not. His philosophy is actually the exact opposite of easy," says Sallis. He first discusses Nietzsche's (...) life and the relevance of the classical Greeks to his thought. Then, in invigorating detail, Sallis discusses Nietzsche's views on truth, morality, and the death of God. The final lecture covers Thus Spoke Zarathustra, Nietzsche's influential but highly debated work of philosophical fiction. Nietzsche's Voices represents an essential introduction to the thought of Friedrich Nietzsche, as presented by one of today's most significant philosophers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Allman PAUL DE MAN, DECONSTRUCTION, AND DISCIPLESHIP God may be dead, but his vocabulary lives on, oddly enough, in the militandy secular pages of recent literary theory. Just when we thought it was safe to plunge the depths of postmodernism without the muddying mystifications of worship, religious language seems to have resurrected itself and is walking once again on the troubled waters of literary criticism. In an (...) essay on "The Institutional Control of Interpretation," forexample, Frank Kermode suggests that the Church offers us the best model for understanding the "exegetical activities" ofliterary critics everywhere: "self-perpetuating, hierarchical, authoritative, much concerned with questions of canon, and wont, as we are, to distinguish sharply between initiate and uninitiate readings, the Church is a model we would do well to consider as we attempt to understand our own practice."1 We can find traces of sacred vocabulary in the description not only of the Church of Criticism in general, but also of particular sects within this institution, even those determined to undermine the notion that anything is sacred. In fact, religious language seems most abundant in critical assessments ofdeconstruction, by all appearances the most iconoclastic of recent modes of interpretation. Gerald Graff, for example, argues that the deconstructive project transforms literature into "a vehicle for a nihilistic metaphysics, an anti-didactic form of preaching." Literature becomes "once again the great oracle of truth, but now the truth is that there is no truth. In a curiously inverted restatement of the religion of literature, the literary work is made the sole source of truth only in the sense that it alone refuses to succumb to the delusion that the truth can be spoken."2 Focusing on the style rather than the Philosophy and Literature, © 1990, 14: 324-339 John Allman325 dogma of deconstruction, Mark Felperin echoes a number of theorists (both radical and conservative) when he comments that de Man, Derrida, and their brethren, much like "high priests ofa new mystery cult," are guilty of "a deliberate obscurantism designed to exclude all but an elite—only those who already know will understand and be saved."3 And John Ellis suggests that "deconstructive logic" is simply a crude version of "a standard formula in many branches of religious mysticism."4 Clearly, Ellis, Graff, and others so stigmatize deconstruction not by way of providing neutral descriptions of an interpretive approach, but rather as part of a polemical strategy intended to expose flaws in deconstruction—its hypocrisy, its elitism, its unoriginality. Despite this appropriation of religious language in the rhetoric denouncing deconstruction, it seems to me to be both possible and useful to examine how religious vocabulary might offer a fair as well as illuminating means of describing rather than proscribing the critical phenomenon known as deconstruction. In particular, I would like to look at the ways in which the relation between the originators ofdeconstruction and their successors resembles that between master and disciple. To those sympathetic to deconstruction, such an approach may seem inappropriate, if not hostile; deconstructionists, accustomed to charges that they are presenting a metaphysics of absence, a religion of antirepresentationalism, have consistentiy denied that their practices are in any way religious. What I would like to suggest, however, is that deconstruction, like the texts it reads, is governed by the very forces it resists. By studying the relation between one "exemplary" deconstructive critic— Paul de Man—and one of his influencial students—Barbara Johnson—I hope to illustrate how the survival of deconstruction depends paradoxically on its ability to both resist and restore the powers that shape the relation between master and disciple. Particularly useful in the context ofmy argument are the observations of two sociologists of religion, Joachim Wach and Max Weber, whose sociological perspective permits them to comment on the dynamics of the master-disciple relationship without referring to any particular set of beliefs or teachings. Wach's essay "Master and Disciple" is especially helpful, for he begins his discussion of this dynamic by contrasting the relation between master and disciple with that between teacher and student. For Wach, the essential difference between master and teacher is that the teacher "gives a definite subject matter" while the master "provides only... (shrink)

Taking a critical perspective more political than that usually adopted by classicists, John Alvis demonstrates in this study that the Iliad, Odyssey and Aeneid each present a distinct political teaching regarding human ends and the form of civil society most conducive to the realization of those ends. Referring to the mysterious "plan of Zeus" announced in the opening lines of the Iliad but never explained, Alvis argues that both Homer's Zeus and Virgil's Jupiter guide their heroes to embody principles (...) of natural justice that in turn found political constitutions. The Political Plan of Zeus represents the first comprehensive theory of the meaning of Zeus's providence in both Homeric poems, a new interpretation of the muse in Homer, and the first attempt to compare the Aeneid with Platonic-Aristotelian teaching on the nature of man and the problem of empire. This book will be of interest to upper-level undergraduates and scholars of politics, philosophy, and the classics. (shrink)

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Keywords: geology instrument probe Earth interior crust magma core crack underground nuclear explosion molten iron China Syndrome melting rock Published in the December-2003 issue of Analog Science Fiction & Fact Magazine ; This column was written and submitted 06/22/2003 and is copyrighted ©2003 by John G. Cramer. All rights reserved. No part may be reproduced in any form without the explicit permission of the author.

This paper has two parts. The first is an exposition of John Foster's argument that ultimate reality, whatever else it might be, is not physical, and could not be. The second part is a somewhat tentative discussion of this argument, in which I consider ways it might be challenged or amended. I suggest that while Foster's argument may not render materialism untenable, at the very least it forces the materialist to adopt certain other controversial views, and so is a (...) force to be reckoned with. I shall use the term physical anti-realism to denote the thesis that ultimate reality does not, and cannot possibly, contain anything material or physical. By physicalism I mean the doctrine that ultimate reality can be physical, at least in part. What Foster means by "ultimate reality" will be explained shortly, but it can be taken roughly to mean: the world as it really is, objectively, as opposed to how it appears to be, or how we conceive it to be. The full-scale version of Foster's argument for physical anti-realism is to be found in the first eleven chapters of The Case for Idealism.2 In the remaining six chapters, he argues that the best way of accommodating this negative result is to adopt a version of phenomenalism, by holding that the physical world exists, but only as a "creation" of contingent constraints on the course of human sensory experience. In what follows, I shall be concerned only with the negative part of Foster's argument, his case against physicalism. Foster himself has recently provided a shorter version of his argument, in "The Succinct Case for Idealism".3 The latter work, henceforth The Succinct Case, as opposed to just The Case, is mainly given over to the anti-realist argument, and provides an excellent introduction to it. The exposition which follows may well be longer than the entire Succinct Case. (shrink)

An important book, one that can truly be called seminal. --America In a popular, informal style, the Jesuit author of many theological books and articles explores the question of interpersonal commitments . . . His book should do much to clarify a great deal of muddy thinking on a critical issue. --Library Journal Haughey is not addressing one life-style, but is writing for all, since all of us are committed to someone or something. His book is carefully written and deserves (...) careful reading. --Best Sellers John C. Haughey, SJ, is the author of 'The Holy Use of Money' and 'Should Anyone Say Forever?'. (shrink)

This is French version of John Stuart Mill's essay "On Nature" accompanied by a introduction by the translator and a lexicon of English words (used in moral philosophy) often wrongly translated into French and a short reflection on the two senses of the word "law" that often cause confusion.

In all the literature about ethical dilemmas facing the accounting practitioner little attention has been paid to those which arise from the accountant's role in the process of accounting regulation. This treatment explores that role in the light of differing national modes of accounting regulation, economic impact issues in accounting regulation, some ethical principles and a number of different national illustrations. John Blake is Professor of Accounting in the Department of Accounting and Financial Services at the University of Central (...) Lancashire, Preston PR1 2HE, in which Catherine Gowthorpe is Principal Lecturer, while Julia Clarke is a member of the Department of Business Studies, Manchester Metropolitan University, Aytoun Building, Aytoun Street, Manchester M1 3GH. (shrink)