I consider the role of psychology and other sciences in telling us about our senses, via the issue of whether empirical findings show us that flavours are perceived partly with the sense of smell. I argue that scientific findings do not establish that we're wrong to think that flavours are just tasted. Non-naturalism, according to which our everyday conception of the senses does not involve empirical commitments of a kind that could be corrected by empirical findings is, I suggest, a (...) plausible view that is not easy to dismiss. (shrink)

Ted Sider aptly and concisely states the self-visitation paradox thus: 'Suppose I travel back in time and stand in a room with my sitting 10-year-old self. I seem to be both sitting and standing, but how can that be?' (2001, 101). I will explore a relativist resolution of this paradox offered by, or on behalf of, endurantists.1 It maintains that the sitting and the standing are relative to the personal time or proper time of the time traveler and is intended (...) to yield the result that Ted is sitting at a certain initial personal/proper time but is not standing relative to that time. Similarly, it is also supposed to yield that Ted is standing relative to a later personal/proper time, but not sitting relative to that .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:JOSEPH MARGOLIS THE LOGIC AND STRUCTURES OF FICTIONAL NARRATIVE The fascination of fiction and narrative is plainly immense, sind current analyses are notably fresh and ingenious. But ifone were to venture a compendious account of die most strategic conceptual claims bearing on those notions, they might well be captured by the following three theses: (i) that fiction and narrative are logically quite distinct, without necessarily excluding one anodier; (ii) (...) that fictional worlds are no worlds at all; they are merely imagined to exist; and (iii) that events, whether actual or imagined, cannot be specified independently of the categories by which we identify them as the events they are, categories subject to change over time. What is intriguing about mese three claims is that they strike the ear as utterly commonplace and obvious. But that is dieir strength. For it would be a great convenience if the relevant puzzles generated by analytic philosophy, hermeneutics, the new narratology, semiotics and the like could be resolved, convincingly, by appeal to die implications of these diree homely trudis. In addition, diey affect one another in a rather complicated way, and, taken joindy, easily expose certain influential false starts. The import of (iii), for example, is notably ignored in die otherwise powerful analysis of narrative afforded by Gérard Genette. Its bearing on (i) utterly undermines the explicit dualism favored by Seymour Chatman, who is clearly influenced by Genette himself. The failure to mark die force of (i) and its analogue regarding poetry is most obvious in I. A. Richards's contrast between poetry and science, the work of the Prague circle, Northrop Frye's Anatomy of Criticism, and such recent speech-act theories of poetry and fiction as those proposed by Richard Ohmann, Monroe Beardsley, and Mary Louise Pratt. The corresponding failure widi respect to (ii) is clear in John Searle's theory of reference and in die ontological claims made by Nicholas Wolterstorff. The connection between (i) and (ii) is muddled most famously by G. E. Moore. These charges suggest die quarrelsome promise of the intended economy. But, as we shall see, they also lead in the direction of a more constructive theory of texts and their interpretation and of die constraints of narrative and style diat affect fiction. 162 Joseph Margolis163 Fiction, we say, differs from reality as well as from legend. But in speaking thus, we betray an understandable confidence that these three kinds of"world"— or, these three worlds — are conceptually well-behaved and open to straightforward demarcation. Once more, we slip altogether too easily between talking about certain worlds and about the narrative accounts by which we do so. What distinguishes fictional reference? we ask, and what is a fictional world? The best way to proceed here is to begin with strong intuitions and to trace dieir systematic consequences in order to test how far they are unassailable — or whether and where they must yield to others that are more accommodating. One particularly promising equivocation is the following. We speak of fictional worlds as possible (but not actual) worlds; but even if what is possible in a fictional world corresponds (in some sense) to what is possible in the actual world, it is not, as such, a possibility of or at the actual world. The "possible worlds" idiom is fundamentally and doubly equivocal. For, a "possible world" signifies either what is merely logically or conceptually compossible, or what (under suitably referential, predicative, causal, and similar constraints) is compossible specifically with respect to the actual world (or some part of it). Certainly, Balzac's La Cousine Bette "presents" an imaginary world that is internally coherent and compossible. One might even say, ignoring its fictive nature, diat such a world — or events very much like those of the story — is compossible with a certain portion of the actual world of nineteenth-century France. But Lewis Carroll's Alice in Wonderfond, though it scrupulously presents a coherent world of compossible events, does not present a world compossible with the actual world. And, on certain views at least, Thomas Mann's The Transposed Heads presents a possible world that is a conceptual impossibility. There is, however, no need to quarrel about particular cases... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Exploring "The Vital Depths of Experience":A Reader's Response to HenningJim Garrisonbethany henning's dewey and the aesthetic unconscious is a much-needed and marvelous book. It explores the pragmatic unconscious as it reveals itself in the qualitative unity of artistic expression integrated with aesthetic appreciation and response. By illuminating the role of often unconscious impulses, feelings, desires, memories, imaginaries, habits, meanings, and more, that goes into creating or appreciating a work (...) of art, she exposes the role of the unconscious in our daily lives. In this regard, she may wish to look at Hans Joas's theory of creative action. Relying largely on Dewey, Joas argues that we should regard "creativity as an analytical dimension of all human action" (Joas 116). We transform the world in even our most mundane actions and in doing so, we may draw on the depths of our unconscious.Henning writes with sincerity, clarity, and force. Recognizing that ultimately she is striving to articulate something that is often ineffable, she is not afraid of vagueness, the indeterminate, or the incomplete, and is content to live with mysteries. Henning shows unusual vulnerability in exposing some of her own aesthetic unconscious and the ways culture has inscribed itself upon her, when she responds to art works. She does so without assuming she has plumbed the vital depths of herself much less the artists and art works she explores.I found Henning's responses to be an invitation to explore my own aesthetic unconscious, and I believe others will as well. Her book is subtitled The Vital Depths of Experience. I will strive to demonstrate that depth by summoning the courage to share some of my own aesthetic responses to her textual creation. My goal is to express some of the power in a text that dares to explore the pragmatic unconscious.In writing book reviews, I often rely on Louise Rosenblatt's reader response theory. On this occasion, Rosenblatt is especially apropos since her [End Page 90] work exemplifies the kind of transactionalism that integrates the artistic artifact with those who do the work of art in experiencing it. This emphasis becomes especially obvious in Henning's chapter 5, where she defends Dewey's qualitative "unity thesis" against such critics as Richard Shusterman, John Lysaker, and Noël Carroll. My response concentrates on this remarkable chapter.Carroll argues that works like John Cage's 4'33" and the paintings of Mark Rothko lack qualitative unity that unfolds temporally because they fail to provide closure. Henning replies that "Carroll has forgotten that the art product does not need to have any particular duration for the art work to unfold temporally" (128). As Dewey states it, "[t]he work of art is complete only as it works in the experience of others than the one who created it" (LW 10:111). Those experiencing an artistic product collaborate with the initial creator to complete the meaning. Henning goes on to say that "the encounter between perceiver and product culminate in a transaction: a dynamic exchange between the organism and environment" (128). The idea is correct, but for Dewey and Bentley, however, "exchange between" suggests interaction not transaction; a mutual or reciprocal transaction or an integration would be better descriptions.Although specifically concerned with literary works of art and the experience of reading, Rosenblatt helps illuminate any aesthetic event. In her "The Poem as Event," Rosenblatt remarks:A poem, then, must be thought of as an event in time. It is not an object or an ideal entity. It is an occurrence, a coming-together, a compenetration, of a reader and a text. The reader brings to the text his past experience; the encounter gives rise to a new experience, a poem.(126)Compenetration is a nice synonym for transaction. Rosenblatt's book on transactional reading is titled The Reader, the Text, the Poem. There, she defines "poem" as "the whole category of aesthetic transactions between readers and texts without implying the greater or less 'poeticity' of any specific genre" (12). It is an event of conjoint meaning-making where meaning is felt and acted upon as well as cognized. Dewey himself states: "A new poem is... (shrink)

The purpose of One Heart is to illuminate the common sacred ground at the heart of seven faiths: Buddhism, Christianity, Confucianism, Hinduism, Islam, Judaism, and Taoism. Its method is to identify 65 essential principles, among them: Feel what other people feel; Don't harm others; Lead with virtue and concern for others; Be honest ; Practice what you preach; Be content; Don't let anger take over; Choose your companions wisely; Accept the existence of spiritual beings; Seek and you will find. Illustrating (...) each principle are one, two, or three quotations from a wide variety of texts sacred to each of the seven faiths—including the Old and New Testaments, the Talmud, the Mahabarata, the Tao Te Ching, the Bhagavad Gita, the Analects of Confucius, and many other sacred sources. In addition, each chapter also provides guidance on a spiritual theme or practice—prayer beads, a home altar, labyrinth walking—to enhance our understanding of these wise words and universal principles. (shrink)

Wright, Claire Louise If the sacraments are, as Louis-Marie Chauvet argues, the major symbolic expressions of 'the body as the point where God writes God's self in us', few concepts could be more central to sacramental theology than time, the medium in which human, ecclesial, cultural and cosmic 'bodies' have their being and expression. Christian narratives, traditions and rituals are founded in history and the shared memory of culture. As Miroslav Volf notes, the 'sacred memory' of the death and (...) resurrection of Christ defines the identity of Christians as 'the pulsating heart that energizes and directs their actions and forms their hopes '. Indeed, all human experience, identity and meaning-making are mediated by an awareness of time, the flow and relativity of chronos and the moment of kairos. As Chauvet puts it, the 'sensible mediation' of history comprises 'the very milieu within which human beings attain their truth and thus correspond to the Truth which calls them'. (shrink)

The modern social world is unjust. It is also complex. What does this latter fact imply about the kind of approach that should be used in ameliorating the injustice expressed in the former fact? One answer, recently put forth by Jacob Barrett, is that _ideal theory_, which he understands as being fundamentally defined by the identification and subsequent pursuit of an aspirational macro-level institutional goal, lacks a place in social reform. The reason he thinks ideal theory lacks a place has (...) to do with its inability to deal with complexity. _Pace_ Barrett, I argue that ideal theory, suitably understood, can play a valuable role in social reform in a complex world. While some ideal theorists have underappreciated the extent to which complexity considerations complicate social reform, this does not mean that there is no place for it. This paper surveys the resources ideal theory has available to cope with what I call _the challenge of complexity_. Although the coping techniques will be successful to varying degrees, I believe, in aggregate, a compelling case can be made that ideal theory can combat the challenge of complexity. Still, one may worry that even if ideal theory can adequately deal with complexity, it cannot adequately deal with ever-changing social circumstances. Call this _the dancing landscape objection_. A static ideal theory cannot overcome it, but a _dynamic ideal theory_ could. In sum, dynamic ideal theory can contribute to social reform in a complex and mutable social world. (shrink)

Did the Romans in their dealings with other nations outside Italy know of any international laws, and did such laws ever crystallise from scattered observances into a general system? This is an interesting question, but one not easy to answer.

Whilst care imperatives have arisen across the breadth of Western societies, within the education sector they appear both prolific and urgent. This paper explores the deployment of care discourses within education generally and draws upon the case of Australian Health and Physical Education (HPE) more specifically, to undertake a Foucauldian interrogation of care. In so doing I demonstrate the usefulness of Foucault's pastoral power lens and its capacity to provide insight into the moral and ethical work conducted by caring teachers (...) on behalf of the state (Acker, 1995). Following a brief overview of the advocacy, challenges and debates surrounding the issue of caring teaching within education, I draw on the work of Hunter (1994) and three case studies from a genealogical interrogation of HPE that employed Foucualt's ethical fourfold as a heuristic device to reveal the ethical practices and objectives of the good HPE teacher. Drawing on this genealogical work, I argue that HPE teachers and their colleagues have been purposefully incited to constitute themselves as agents of pastoral power. From this Foucauldian perspective, I conclude with an exploration of the unintended and possibly ‘dangerous’ practices of caring teaching that may emerge within the complex and messy nexus of contemporary self‐constitution. (shrink)

Contemporary philosophy of perception is dominated by extremely polarized debates. The polarization is particularly acute in the debate between naïve realist disjunctivists and their opponents, but divisions seem almost as stark in other areas of dispute (for example, the debate over whether we experience so-called ‘high-level’ properties, and the debate concerning individuation of the senses). The guiding hypothesis underlying this volume is that such polarization stems from insufficient attention to how we should go about settling these debates. In general, there (...) is widespread, largely implicit disagreement concerning what philosophical theories of perception are supposed to explain, the claims that we should hold fixed in the course of theorizing, and the methods that such theorizing should employ. The goal of this volume is to move such methodological questions from the background to the fore, in the hope of facilitating progress. The contributions constitute an initial effort to spur more explicit, systematic discussion of methodology in philosophy of perception. They cover a wide range of relevant topics, from the relation between scientific and philosophical theorizing about perception, to lessons we can learn from the history of philosophy of perception. (shrink)

This article discusses the common ground between William James and the tradition of philosophical anthropology. Recent commentators on this overlap have characterised philosophical anthropology as combining science (in particular biology and medicine) and Kantian teleology, for instance in Kant’s seminal definition of anthropology as being concerned with what the human being makes of itself, as distinct from what attributes it is given by nature. This article registers the tension between Kantian thinking, which reckons to ground experience in a priori categories, (...) and William James’s psychology, which begins and ends with experience. It explores overlap between James’s approach and the characteristic holism of 18th-century philosophical anthropology, which centres on the idea of understanding and analysing the human as a whole, and presents the main anthropological elements of James’s position, namely his antipathy to separation, his concerns about the binomial terms of traditional philosophy, his preference for experience over substances, his sense that this holist doctrine of experience shows a way out of sterile impasses, a preference for description over causation, and scepticism. It then goes on to register the common ground with key ideas in the work of anthropologists from around 1800, along with some references to anthropologists who come in James’s wake, in particular Max Scheler and Arnold Gehlen, in order to reconceptualise the connection between James’s ideas and the tradition of anthropological thinking in German letters since the late 18th-century, beyond its characterisation as a combination of scientific positivism and teleology. (shrink)

This paper is a commentary comparing the evolutionary perspectives of Denis Dutton’s The Art Instinct (2009) and Stephen Davies’s The Artful Species (2012). Their topics thus necessarily overlap, but their books have different purposes and a different feel. Davies’s book is an academic exercise. He has no real arguments or claims of his own. Dutton wishes to demonstrate that evolutionary psychology can provide a satisfying naturalistic explanation of aesthetic experience. Neither Davies nor Dutton fully succeeds in his ambition. Davies extends (...) his scepticism well beyond a sensible account of the state of current knowledge about human evolution, and Dutton fails to recognize underlying theoretical differences in his main sources of theoretical inspiration. The limitations in these two works do not define the boundaries of current knowledge in evolutionary aesthetics. The most advanced and adequate concept in the evolutionary humanities is the idea that humans evolved the capacity to create imaginative virtual worlds and use those worlds to guide human behaviour. Both books being considered in this essay approach the idea of imaginative virtual worlds and almost grasp it. Before taking up that topic, the paper shall discuss two subsidiary issues: Dutton’s effort to incorporate sexual selection, and Davies’s sceptical negations about all evolutionary knowledge. (shrink)

side or other from his conception of reality ; for though some kind of reality is generally allowed to exist on the other side, ... Thus to the ordinary man philosophy seems to offer no choice, but either to destroy absolutely one half of his sense of ...

This chapter argues that gustatory properties such as sweetness or saltiness are not proprietary to the sense of taste. Rather, we can maintain the common-sense view that such properties can be smelled as well as tasted.