A timely collection of advanced, original material in the area of statistical methodology motivated by geometric problems, dedicated to the influential work of Kanti V. Mardia This volume celebrates Kanti V. Mardia's long and influential career in statistics. A common theme unifying much of Mardia’s work is the importance of geometry in statistics, and to highlight the areas emphasized in his research this book brings together 16 contributions from high-profile researchers in the field. Geometry Driven Statistics covers a wide range (...) of application areas including directional data, shape analysis, spatial data, climate science, fingerprints, image analysis, computer vision and bioinformatics. The book will appeal to statisticians and others with an interest in data motivated by geometric considerations. Summarizing the state of the art, examining some new developments and presenting a vision for the future, Geometry Driven Statistics will enable the reader to broaden knowledge of important research areas in statistics and gain a new appreciation of the work and influence of Kanti V. Mardia. (shrink)

Spanning the centuries, from the seventeenth to the twentieth, and ranging across cultures, from England to Mexico, this collection gathers together important statements on the function and feasibility of literary translation. The essays provide an overview of the historical evolution in thinking about translation and offer strong individual opinions by prominent contemporary theorists. Most of the twenty-one pieces appear in translation, some here in English for the first time and many difficult to find elsewhere. Selections include writings by Scheiermacher, Nietzsche, (...) Ortega, Benjamin, Pound, Jakobson, Paz, Riffaterre, Derrida, and others. A fine companion to The Craft of Translation, this volume will be a valuable resource for all those who translate, those who teach translation theory and practice, and those interested in questions of language philosophy and literary theory. (shrink)

The principle of selection necessarily follows if we accept that a poem is a verbal structure of a very complex kind involving the interaction of all kinds of elements—ideas, images, rhythms, rhetorical features, narrative, logical patterns, whatever. The possible relationships among all these elements seem infinite or at least, in Frye's phrase, unlimited. Hence, a definitive critique of any work seems, even in theory, impossible. It is hard to see how the human mind could consciously contemplate, much less articulate, all (...) aspects at once, even in short pieces; as the various aspects are enumerated, we begin to lose sight of the wood for the trees, to lose our grip on the integrated whole which we at least partially intuit at a given moment in time. And so many are the attitudes and interests which may be brought to bear upon a poem that the critique which once seemed definitive soon seems incomplete to the critic after a further reading, for every time we read a work of any complexity, we find something new; and even the less sensitive know that each new school of criticism, not to mention each latest shift in politics, society, or psychology, will throw at least some of our masterpieces into a new light. As for translation, the only way to avoid it would be wholesale quotation, and even that would be a partial translation in that it would alter the poet's total meaning by substituting a part for the whole. John C. Sherwood, professor of English at the University of Oregon, is the author of articles on Dryden, modern literature, and English composition. He is currently at work on an annotated bibliography of R. S. Crane. (shrink)

My title is taken from the frontispiece to Ogilby's translation of Aesop ; since every Renaissance poet believed the statement to be true, let me start with my own example. John Denham's only play, The Sophy, published in August 1642, is a tale about the perils of jealousy. The good prince Mirza, after a miraculous victory over the Turks, returns in glory to his father's court, but leaves it shortly thereafter. In his absense, Haly, the evil courtier, follows a (...) friend's advice to " work on [the king's] fears, till fear hath made him cruel"1 and poisons the king's mind with jealousy against his son. Mirza returns only to be brutally blinded and killed, and the emperor soon dies stricken with remorse. Now it happens that Parliament justified all its actions in the months preceding the civil war on the grounds of the "fears and jealousies" that the king had inspired. Charles was incensed by the slogan and claimed angrily that he, if anyone, had the most cause for fears and jealousies.2 Denham obviously decided that here was the all-consuming topic around which a predominantly royalist drama could be written. He followed what I believe was the standard practice - the method that Fulke Greville said Sidney used and that Congreve repeated at the end of the century when he declared of The Double Dealer that "I design'd the Moral first, and to that Moral I invented the Fable."3 He found a plot in Thomas Herbert's Travels into Diverse Parts of Asia that recorded some terrible cruelties and catastrophes caused by jealousy, and he added the point that the emperor's mind had been wrought upon by his counselor. There is no evidence that the play was ever acted, but the most casual reader would have said to himself, "Yes, history reminds us that states destroy themselves through fears and jealousies, and we should abate our own before it is too late." · 1. Sir John Denham, The Poetical Works, ed. Theodore Howard Banks, 2d ed. , p.245. The references to fear and jealousy are so ubiquitous in the play that they need not be listed here.· 2. On March 1, 1642, in the angriest of his replies to Parliament so far, Charles exclaimed, "You speake of Jealousies and Feares: Lay your hands to your hearts, and aske your selves whether I may not likewise be disturbed with Feares and Jealousies: And if so, I assure you this Message hath nothing lessened them" . Although phrases like "distempers and jealousies" had been used earlier, Clarendon on two occasions is quite specific that "fears and jealousies" were "the new words which served to justify all indispositions and to excuse all disorders" in January 1642 . Taken with other evidence, Clarendon's remarks strongly suggest that The Sophy was written after Coopers Hill, and during seven months preceding its publication in August 1642.· 3. William Congreve, The Complete Plays, ed. Herbert Davis , p. 119. And compare John Donne in Sermons, ed. Evelyn M. Simpson are George R. Potter , 9:274: "All wayes of teaching are Rule and Example: and though ordinarily the Rule be first placed, yet the Rule it selfe is made of Examples...for, Example in matter of Doctrine, is as Assimiliation in matter of Nourishment; The Example makes that that is proposed for our learning and farther instruction, like something which we knew before, as Assimilation makes that meat, which we have received and digested, like those parts which are in our bodies before."John M. Wallace, author of Destiny His Choice: The Loyalism of Andrew Marvell and articles on Milton, Dryden Denham, Traherne, and Arnold, is professor of English at the University of Chicago. (shrink)

Resumen: Este trabajo investiga las traducciones realizadas por Aphra Behn a partir de la clasificación tripartita que estableció John Dryden entre metáfrasis, paráfrasis e imitación. Behn cultiva la metáfrasis principalmente en sus traducciones de La Rochefoucauld, la paráfrasis en las versiones de Cowley o Tallemant, entre otros; mientras que aplica la imitación a las Fábulas de Esopo. Se constata que Behn rompe con la tradición de traducir principalmente a los autores clásicos, ensanchando los cauces de entrada de literatura (...) moderna en Inglaterra y ampliando las posibilidades de la traducción literaria. Analizando unas muestras, se infiere la manipulación del texto original que la autora realiza en ocasiones, en consonancia con su ideario creativo, generando un texto meta provisto de nuevas resonancias de género y políticas contextualizadas en su época. Asimismo, se deduce que la escritora profesional de la Restauración cultiva la traducción movida, entre otros motivos, por los gustos del naciente mercado literario en cuanto a las novedades del país galo y, por tanto, motivada por un afán comercial.: This paper examines the translations by Aphra Behn based on the tripartite classification that John Dryden established between metaphrase, paraphrase and imitation. Behn employs mainly metaphrase in her translations of La Rochefoucault; paraphrase in her versions of Cowley and Tallemant, among others; while applying the imitation to Aesop's Fables. It is found that Behn breaks with the tradition of translating principally classical authors, broadening channels for the entrance of modern literature into England and expanding the possibilities of literary translation. Analyzing the samples, the author's occasional manipulation of the original text is identified, consonant with her creative ideas and generating a metatext featuring new political and gender resonances contextualized in her era. It is also concluded that the professional writer of the Restoration employs translation spurred by the tastes of the burgeoning literary market, among other factors, shaped by recent developments in France and, as such, motivated by commercial interests. (shrink)

“A sentimental layman would feel, and ought to feel, horrified, on being admitted into [an expert art] critic's mind, to see how cold, how thin, how void of human significance, are the motives for favour or disfavour that there prevail.” Thus writes William James. The art-world is dominated by critics who sneer and sentimentality, resist evocation, and issue stale, dispassionate appraisals. Memorized standards are coolly deployed to scan works for the features that are currently in fashion, before an icy verdict (...) is delivered. Untutored art enthusiasts make aesthetic judgments in an entirely differently way. For them, appraisal is read off “the sounding board of the body.” They use their emotions. Thus, according to James, there are two ways to assess art: cold and hot. So who is right, the rhapsodical museum-goer or the effete professional critic? As a first pass, I side with the rhapsodies. I think dispassionate appraisal is parasitic on passionate appraisal. Cool reason can never be sufficient on its own to assess artistic merit. This is a corollary of “aesthetic sentimentalism”—a view was championed by Hume and other British moralists. Of course, aesthetic sentimentalism does not entail that critics are wrong when they depart from the bubbling masses. It entails merely that good critics must be slaves to their own passions. Hacks may deliver aesthetic judgments dispassionately, but more sensitive critics have been known to muster an occasional gasp or thrill. Perhaps the refined emotions of professional critics have more validity than the crude gushings of James ’s “sentimental layman.” True beauty may be restricted to those works that elicit goosebumps in skilled viewers. Hume flirts with this idea. He thinks John Milton is objectively better than John Ogilby. Why? Because John Dryden said so, and he should know. John D. can arbitrate between the merits of John M. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Ovidian Heroine as Author: Reading, Writing, and Community in the HeroidesGenevieve LiveleyLaurel Fulkerson. The Ovidian Heroine as Author: Reading, Writing, and Community in the Heroides. Cambridge: Cambridge University Press, 2005. xii + 187 pp. Cloth, $75.Ovid's Heroides have traditionally received mixed reviews from readers and critics. John Dryden famously regarded them as Ovid's "most perfect piece" of poetry, but he too saw imperfections in the (...) collection. In the preface to his [End Page 286] own English translation of the Heroides, he suggested that Ovid's heroines are not altogether plausible as abandoned women, observing that they "are not too miserable to make puns" and that they frequently "speak more eloquently than the violence of their passion would admit." Grant Showerman, similarly writing "in appreciation of the Heroides," offered the type of qualified praise that has now become commonplace in contemporary criticism of the letters, claiming that "The Heroides are not a work of the highest order of genius. Their language, nearly always artificial, frequently rhetorical, and often diffuse, is the same throughout—whether from the lips of barbarian Medea or Sappho the poetess." L. P. Wilkinson, whose project to rescue Ovid's literary reputation in Ovid Recalled heralded the dawn of a modern renaissance in Ovidian studies, likewise damned the Heroides with faint praise. He notoriously described the work as a stodgy "plum pudding," declaring that "the first slice is appetizing enough, but each further slice becomes colder and less digestible."Cutting against this trend, Laurel Fulkerson's new book shows how tastes in the Ovidian world have changed. Building upon recent studies (specifically those by Efi Spentzou and Sara Lindheim) that have confirmed the status of the written women of Ovid's Heroides as reading and writing women, The Ovidian Heroine as Author offers a new approach to reading Ovid's heroines and their letters. Across seven chapters, with an appendix on "The authenticity (and "authenticity") of Heroides 15," bibliography, index, and index locorum, this slender volume sets out to reevaluate the Heroides as both an inter- and intratextual community of authors and readers.The Heroides are configured unequivocally as love letters from Penelope to Ulysses, Briseis to Achilles, and so on. Yet the heroines' letters frequently appear to be directed to other Heroidean readers: Oenone's letter to Paris posits Helen as a potential (mis)reader, Hermione's letter to Orestes also speaks directly to her mother Helen, and Hypsipyle's letter to Jason seems also to be addressed to her rival Medea. What is more, the heroines repeatedly write of their fears that their letters will never reach their "intended" (male) readers, that they will be deliberately intercepted or fall into the hands of the wrong (female) readers, that they will be misread or—worse still—not read. A love letter's direct and intimate exchange between its writer and addressee is compromised in each of the Heroides, complicating issues of (mis)reading and (mis)interpretation. Fulkerson is convinced that the Heroides deliberately and self-reflexively provoke questions about their own textual and intertextual status. She sees the heroines as puellae doctae who "self-consciously fashion themselves as alluding authors influenced by what they read" (2), namely, the other epistles in Ovid's collection. Fulkerson argues, like Kauffman, that the "correspondences between the correspondents" are key both to understanding the poetics of the Heroides and to redeeming Ovid and his heroines from charges of repetition and reduplication in their writing.Chapter 1 focuses on Heroides 2 and Phyllis' dangerous (mis)reading of the epistles of Dido, Ariadne, and Medea. Here, Fulkerson cleverly exploits Phyllis' own reading strategies (and her resultant self-positioning as an abandoned [End Page 287] heroine just like Dido et al.) to demonstrate the kind of external "misreading" that, Fulkerson claims, this epistle has traditionally invited. Readers who see Heroides 2 (and, indeed, the collection as a whole) as repetitive and imitative repeat Phyllis' reading mistakes: Phyllis erroneously reads her own situation as reduplicating that of Ovid's other hopeless heroines, blind to the subtle and positive differences among them. Phyllis, then, Fulkerson suggests, offers us "a model of how (not) to read the Heroides" (39).In... (shrink)

This paper will explore the notion of ‘poetic enthusiasm’ in early 18th-century verse. The representation of poetic enthusiasm—the claim to false inspiration, and the fanaticism that was perceived to accompany it—was frequently politicized in this period. Through a conflation of religious and literary discourses, poetic enthusiasm was seen to represent the sae kind of anarchy in the realm of literature that the religious enthusiasm associated with Dissent did in the context of the established church. This paper will establish first of (...) all the way in which Tory and Royalist authors such as John Oldham, John Dryden, and Alexander pope used the established satirical caricature of the religious enthusiast to attack their Whig contemporaries. It will go on to suggest, however, that the relationship between politics and enthusiasm is more complex than this equation between Toryism and anti-enthusiasm suggests. While the Tory attack on literary enthusiasm was premised on an elision of political and literary codes, writers such as Dryden and Pope were also trying to separate out an exclusively poetic meaning for the term. Enthusiasm remained and unstable term because although writers recognized that its religious and political applications were different from its literary sense, they could not easily keep the two apart. (shrink)

Paul Davis explores the personal and cultural significances of translating as a distinctive mode of imaginative conduct for the five principal poet-translators of what was the golden age of the art in England: John Denham, Henry Vaughan, Abraham Cowley, John Dryden, and Alexander Pope.

It is easy to overlook the fact that the kind of personalist criticism Brower, Wimsatt, and other New Critics were reacting against was a method of interpretation bequeathed by the nineteenth century which most of us would now regard as naïve, simplistic, and sometimes absurd. With the exception of a few poems such as Browning's dramatic monologues, which provided the speaker with an explicit identity as unmistakable as that of a character in a play—"I am poor brother Lippo, by your (...) leave! / You need not clap your torches to my face"—lyric and didactic poems of the first person were invariably treated as personal statements. The voice, emotions, attitudes, and state of mind of the speaker were those of the poet, and even the most symbolic details were often read as literal aspects of the poet's self or environment. Many critical studies and anthologies remain today on library shelves testifying to the persistence of these critical habits of the late 1940s and 1950s. On the assumption that Rochester's love poems describe his actual sexual experiences, Vivian de Sola Pinto was able to write a much longer biography of the poet than would have been possible if personalist criticism had not been in vogue.1 David Nichol Smith could assert that Dryden's Religio Laici "was wholly spontaneous"—the familiar Romantic criterion - and show the poet arguing out "his problems for the peace of his own mind."2 If it became unfashionable to speak in that manner of these and numerous other poems, it was because the New Critics, along with the Chicago critics, had shown convincingly that a lyric poem can be dramatic, the imitation of a fictitious speaker responding to an imagined situation, and that a didactic poem can deal with public issues instead of private agonies. · 1. See Vivian de Sola Pinto, Rochester: Portrait of a Restoration Poet .· 2. David Nichol Smith, John Dryden , p. 61. Phillip Harth is Merritt Y. Hughes Professor of English at the University of Wisconsin, Madison, and is the author of Swift and Anglican Rationalism and Contexts of Dryden's Thought. (shrink)

In this short monograph, John Horty explores the difficulties presented for Gottlob Frege's semantic theory, as well as its modern descendents, by the treatment of defined expressions. The book begins by focusing on the psychological constraints governing Frege's notion of sense, or meaning, and argues that, given these constraints, even the treatment of simple stipulative definitions led Frege to important difficulties. Horty is able to suggest ways out of these difficulties that are both philosophically and logically plausible and Fregean (...) in spirit. This discussion is then connected to a number of more familiar topics, such as indexicality and the discussion of concepts in recent theories of mind and language. In the latter part of the book, after introducing a simple semantic model of senses as procedures, Horty considers the problems that definitions present for Frege's idea that the sense of an expression should mirror its grammatical structure. The requirement can be satisfied, he argues, only if defined expressions--and incomplete expressions as well--are assigned senses of their own, rather than treated contextually. He then explores one way in which these senses might be reified within the procedural model, drawing on ideas from work in the semantics of computer programming languages. With its combination of technical semantics and history of philosophy, Horty's book tackles some of the hardest questions in the philosophy of language. It should interest philosophers, logicians, and linguists. (shrink)

Etymologies are often entertaining, but it is not always obvious what they mean. Take the case of Old Frankish *sal, meaning a single-roomed dwelling. The word was taken over by speakers of Vulgar Latin as sala, and by 1100 CE it had become a word of Anglo-Norman French, since in The Song of Roland it crops up as sale, meaning the living area of a castle. Some time later, it wandered into Italian. Renaissance architects wanted to make a new word (...) for the increasingly grandiose spaces they were designing, so they added an augmentative suffix, producing salone. In the seventeenth century, French translations of Italian works on architecture reproduced the new term, only dropping the final e so as to keep the masculine gender of the Italian. French salon came into English in the early eighteenth century, initially as a word for a large and lofty room; but as French speakers applied it more and more to social functions occurring in such spaces, English speakers did so too. Then came a fork: a phonological adaptation produced saloon, which drifted off as a fully naturalized word of English toward hotels, carriages, bars, and cars; but salon persisted nonetheless. By retaining the stress pattern and marginally nasal final vowel of its source language, the doublet has remained in use as a xenism—a word of English understood to be not English, but understood in English all the same.How many such words are there? Hundreds, maybe thousands. Coupé, du jour, fuselage, pizza, paparazzi, sauerkraut, Zeitgeist—all signal their foreignness either by nonstandard pronunciation of written consonants (s, g, j, z), the presence of foreign diacritics, or irregular tonic stress. These are the kinds of loanwords that Scholar calls “émigrés,” but he gives us not thousands or hundreds or even a dozen of them: his chapters deal only with four: à la mode, ennui, naïveté, and caprice. The histories of these words do not really teach us any more about the cultural, social, and political relations between England and France than do saloon and salon, which is not much at all, or any other set of loanwords that retain phonetic or orthographic signs of foreignness. Scholar nonetheless does his level best to put his favored four at the heart of early modern English culture. Lengthy accounts of a play by Dryden, a famous work of Schiller's, an essay by Raymond Williams, Caribbean notions of creolization, and a John le Carré novel, learned though they all may be, do not really make the argument more persuasive, or even clear. By the end of this beautifully produced and floridly written book, the reader (or at least this reader) is not quite sure what it was really about. The very title of Émigrés repurposes a xenism which in regular usage is associated with high social status (we never talk of émigré workers, for example), thus exhibiting what I suppose the whole field ought to demonstrate: the ways in which new, hard, or nonnative words are always used to establish pecking orders between speakers, between their interlocutors and between their worlds. In Bourdieusian terms: not to make distinctions, but to create distinction. (shrink)

John Rawls's transition from A Theory of Justice to Political Liberalism was driven by his rejection of Theory's account of stability. The key to his later account of stability is the idea of public reason. We see Rawls's account of stability as an attempt to solve a mutual assurance problem. We maintain that Rawls's solution fails because his primary assurance mechanism, in the form of public reason, is fragile. His conception of public reason relies on a condition of consensus (...) that we argue is unrealistic in modern, pluralistic democracies. After rejecting Rawls's conception of public reason, we offer an ‘indirect alternative’ that we believe is much more robust. We cite experimental evidence to back up this claim. (shrink)

John Collins presents a new analysis of the problem of the unity of the proposition-how propositions can be both single things and complexes at the same time. He surveys previous investigations of the problem and offers his own novel and uniquely satisfying solution, which is defended from both philosophical and linguistic perspectives.

We subject others and are ourselves subjected to risk all the time - risk permeates life. Despite the ubiquity of risk and its imposition, philosophers and legal scholars have devoted little of their attention to the difficult questions stimulated by the pervasiveness of risk. When we impose risk upon others, what is it that we are doing? What is risking's moral significance? What moral standards govern the imposition of risk? And how should the law respond to it? This book highlights (...) these important but neglected questions and offers novel answers to them in a systematic way, constructing a normative framework of risk imposition that draws upon a wide range of insights from diverse sources within philosophy and legal theory.Oxford Legal Philosophy publishes the best new work in philosophically-oriented legal theory. It commissions and solicits monographs in all branches of the subject, including works on philosophical issues in all areas of public and private law, and in the national, transnational, and international realms; studies of the nature of law, legal institutions, and legal reasoning; treatments of problems in political morality as they bear on law; and explorations in the nature and development of legal philosophy itself. The series represents diverse traditions of thought but always with an emphasis on rigour and originality. It sets the standard in contemporary jurisprudence. (shrink)

The Heirs of Plato is the first full study of the various directions in philosophy taken by Plato's followers in the first seventy years after his death in 347 BC - the period generally known as 'The Old Academy', unjustly neglected by historians of philosophy. Lucid and accessible, John Dillon's book provides an introductory chapter on the school itself, and a summary of Plato's philosophical heritage, before looking at each of the school heads and other chief characters, exploring both (...) what holds them together and what sets them apart. (shrink)

In a wide-ranging, provocative anatomy of modern society and its origins, novelist and historian John Ralston Saul explores the reason for our deepening sense of crisis and confusion. Throughout the Western world we talk endlessly of individual freedom, yet Saul shows that there has never before been such pressure for conformity. Our business leaders describe themselves as capitalists, yet most are corporate employees and financial speculators. We are obsessed with competition, yet the single largest item of international trade is (...) a subsidized market in armaments. We call our governments democracies, yet few of us participate in politics. We complain about "invasive government," yet our legal, educational, financial, social, cultural and legislative systems are breaking down. While most observers view these problems separately, Saul demonstrates that they are largely manifestations of our blind faith in the value of reason. Over the last 400 years, our "rational elites" have gradually instituted reforms in every phase of social life. But Saul shows that they have also been responsible for most of the difficulties and violence of the same period. This paradox arises from a simple truth which our elites deny: far from being a moral force, reason is no more than an administrative method. Their denial has helped to turn the modern West into a vast, incomprehensible, directionless machine, run by process-minded experts - "Voltaire's bastards"--Whose cult of scientific management is bereft of both sense and morality. Whether in politics, art, business, the military, entertainment, science, finance, academia or journalism, these experts share the same outlook and methods. The result, Saul maintains, is a civilization of immense technological power whose peoples increasingly dwell in a world of illusion. Already known to millions of readers as the author of novels which portray the overwhelming effects of this power on the modern individual by weaving together international finance, the oil and arms business, guerrilla warfare, drug traffic, and the world of art, here Saul lays aside the mask of fiction to speak in his own voice. Only by withdrawing from our addiction to "solutions," he argues, reclaiming the citizens' right to question and participate in public life, and recovering a common sense capacity for intelligent panic, can we find a way out of our permanent crisis. (shrink)

This is a collection of John Hick's essays on the understanding of the world's religions as different human responses to the same ultimate transcendent reality. Hicks is in dialogue with contemporary philosophers (some of whom contribute new responses); with Evangelicals; with the Vatican and other both Catholic and Protestant theologians. The book is alive with current argument for all interested in contemporary philosophy of religion and theology.

John Dillon presents an English translation of Alcinous' Handbook of Platonism, accompanied by an introduction and a philosophical commentary which explain the ideas in the work and show their intellectual and historical context. The Handbook purports to be an introduction to the doctrines of Plato, but in fact gives us an excellent survey of Platonist thought in the second century AD.

Schumaker (philosophy, science and technology department, Rensselaer Polytechnic Institute) examines how the terms of posture encompass all the major disciplines and investigates a variety of philosophical topics: abstract thought, ...

Natural selection comes in degrees. Some biological traits are subjected to stronger selective force than others, selection on particular traits waxes and wanes over time, and some groups can only undergo an attenuated kind of selective process. This has downstream consequences for any notions that are standardly treated as binary but depend on natural selection. For instance, the proper function of a biological structure can be defined as what caused that structure to be retained by natural selection in the past. (...) We usually think of proper functions in binary terms: storing bile is a function of the gall bladder, but making stones is not. However, if functions arise through natural selection, and natural selection comes in degrees, then a binary approach to proper functions is in tension with the biological facts. In order to resolve this tension, we need to revise our standard accounts of proper function. In particular, we may have to seriously consider the possibility that functions themselves come in degrees, in spite of the ramifications this will have for the way we speak about functions and related concepts such as dysfunction, disease, and teleosemantic content. (shrink)

This book attempts to isolate the question of ethics in the work of Foucault and Lacan and explores its ramifications and implications for the present day.

Law as a leap of faith -- Legal positivism : 5 1/2 myths -- Some types of law -- Can there be a written constitution? -- How law claims, what law claims -- Nearly natural law -- The legality of law -- The supposed formality of the rule of law -- Hart on legality, justice, and morality -- The virtue of justice and the character of law -- Law in general.

How do we recognize identities between seen shapes and felt ones? Is this due to associative learning, or to intrinsic connections these sensory modalities? We can address this question by testing the capacities of newly sighted subjects to match seen and felt shapes, but only if it is shown that the subjects can see the objects well enough to form adequate visual representations of their shapes. In light of this, a recent study by R. Held and colleagues fails to demonstrate (...) that their newly sighted subjects’ inability to match seen and felt shape was due to a lack of intermodal connections rather than a purely visual deficit, as they may not have been able visually to represent 3D shape in the perspective-invariant way required for intermodal matching. However, the study could be modified in any of several ways to help avoid this problem. (shrink)

Genetic testing has historically been performed in the context of chronic disease and cancer diagnostics. The timelines for these tests are typically measured in days or weeks, rather than in minutes. As such, the concept that genetic information might be generated and then used to alter management in the acute setting has, thus far, not been feasible. However, recent advances in genetic technologies have the potential to allow genetic information to be generated significantly quicker. The m.1555A>G genetic variant is present (...) in one in 500 individuals and predisposes to profound hearing loss following the administration of aminoglycoside antibiotics. These antibiotics are used frequently in cases of neonatal sepsis and it is estimated that approximately 180 neonates in the UK are at risk of antibiotic induced hearing loss each year because of this genetic change. Knowledge of this variant in the acute setting would allow clinicians to prescribe alternative antibiotics. The Pharmacogenetics to Avoid Loss of Hearing study will implement a genetic point of care test (POCT) for the m.1555A>G variant within two major UK based neonatal intensive care units. This represents the first trial of a genetic POCT aimed at altering management in the acute setting. This round table discussion outlines the novel ethical issues faced in the development of this trial and the legal barriers to implementation. We ask five stakeholders to provide their opinions on this trial and their perspectives on the concept of genetic testing in the acute setting.Trial registration numberISRCTN-13704894. (shrink)

THE PREVALENCE TODAY of "semiotics" as the preferred linguistic form for designating the study of signs in its various aspects already conceals a history, a story of the ways in which, layer by layer, the temporal achievement we call human understanding builds, through public discourse, ever new levels of common acceptance each of which presents itself as, if not self-evident, at least the common wisdom. Overcoming such present-mindedness is not the least of the tasks faced by the awakening of semiotic (...) consciousness. (shrink)

This article outlines a sociological agenda for the era of “tech,” a period when digital technologies have come to dominate our social lives. It argues that we should break “tech” down into two parts, the production side and the consumption side. The production side concerns the ways in which these technologies are made, the social actors involved on the design, financing, and production side, and the consumption side refers to the ways in which ordinary users make use of these technologies (...) and the ways in which their use is transforming everyday life. The article maintains that this is an area of research to which sociologists need to pay much greater attention if they are to understand the contemporary world satisfactorily. (shrink)

This is part of a series which aims to make available essays in the history of philosophy. The book presents a collection of essays which explore John Locke's moral, political and legal philosophy.

Late in his life, Hans-Georg Gadamer was asked to explain what the universal aspect of hermeneutics consisted in, and he replied, enigmatically, “in the _verbum interius_.” Gadamer devoted a pivotal section of his magnum opus, _Truth and Method_, to this Augustinian concept, and subsequently pointed to it as a kind of passkey to his thought. It remains, however, both in its origins and its interpretations, a mysterious concept. From out of its layered history, it remains a provocation to thought, expressing (...) something about the relation of language and understanding that has yet to be fully worked out. The scholastic idea of a word that is fully formed in the mind but not articulated served Augustine as an analogy for the procession of the Trinity, and served Thomas Aquinas as an analogy for the procession between divine ideas and human thought. Gadamer turned the analogy on its head by using the verbum interius to explain the obscure relation between language and human understanding. His learned interpretation of the idea of the inner word through Neoplatonism, Lutheranism, idealism, and historicism may seem nearly as complex as the medieval source texts he consulted and construed in his exegesis, but the profoundity of his insights are unquestioned. In unpacking Gadamer's interpretive feat, John Arthos provides an overview of the philosophy of the logos out of which the _verbum interius_ emerged. He summarizes the development of the _verbum _in ancient and medieval doctrine, traces its path through German thought, and explains its relevance to modern hermeneutic theory. His work unfolds in two parts, as an expansive intellectual history and as a close analysis and commentary on source texts on the inner word, from Augustine to Gadamer. As such, this book serves as an indispensable guide and reference for hermeneutics and the intellectual traditions out of which it arose, as well as an original theoretical statement in its own right. “Consummately researched, lucidly written, and persuasively argued throughout, __The Inner Word_ _succeeds brilliantly in bringing to light this neglected but pivotal matter in Gadamer’s work. Arthos is learned in the best ‘humanist’ way, for he succeeds in creating something new of his own that will speak eloquently to all of us.” —_Walter Jost, University of Virginia_ “Gadamer suggests that the Christian idea of incarnation is a key to his hermeneutics, but does not explain his position in a detailed or systematic manner. Arthos brings his considerable knowledge of hermeneutics and rhetoric to bear on Gadamer's insight, recounting the rich intellectual history to which Gadamer gestures, and providing an extended and detailed exegesis of this pivotal point in the third part of _Truth and Method_. Gadamer's account of 'linguisticality,' Arthos explains, can best be understood through his use of a complex metaphor—the ‘inner word.’ Arthos matches his erudition with clear and clean prose, and his account exemplifies, rather than just describes, Gadamer's hermeneutical philosophy. Any scholar interested in Gadamer's philosophy should have this book on his or her shelf.” —_Francis J. Mootz III, William S. Boyd Professor of Law, William S. Boyd School of Law_ “Arthos's strength lies for me in his careful reading of the sources. He effectively commands the literature on the subject. This work shows in a sophisticated way the legacy of trinitarian theology for philosophical hermeneutics. The very complex task of illuminating the phenomenon of the _verbum interius _and indicating its centrality for philosophical hermeneutics is accomplished by John Arthos with great sensitivity to the subject matter.” —_Andrzej Wiercinski, The International Institute for Hermeneutics_. (shrink)

This article begins by reviewing the overwhelmingly negative assessment of laughter and humor in Western philosophy and in Christianity, arguing that that evaluation arises from a misclassification of amusement as a malicious emotion. It then sketches a play theory of humor in which humor is an activity pursued for pleasure which allows participants to violate linguistic and social norms, especially rules about sincerity. Once we understand humor as a kind of play, familiar ethical objections to jokes based on gender and (...) race are seen to be mistaken, and a new approach to the negative ethics of humor becomes possible. What is more, this play theory also explains how humor is morally praiseworthy in many situations. (shrink)