This multi-faceted collection of women's perspectives on the renaissance in philosophical practices provides an international overview on the professional practice of philosophical counseling as rooted in the ancient philosophical discipline of life and its essential difference from modern mainstream philosophy.

This essay has two basic purposes: Historically it tries to elaborate what is deeply modernist and constructivist in a poet typically considered a brilliant and idiosyncratic figure whose work is sui generis. In order to accomplish that, the essay proposes a possibly original reading of basic general concerns of Modernism as aligning the entire movement with Hegel’s concept of “inner sensuousness” as the core of Romantic art, for Hegel, its most developed form. Analytically, the essay proposes that Hegel’s intellectual framework, (...) along with Moore’s poetry, can be still central to the culture wars because they afford a philosophical framework from which we can see the continuing importance of Modernist art to struggles against materialist accounts of mental life and the values of aesthetic contemplation. (shrink)

Studies on American poetry by ten contributors. Notes at the end of each chapter.

The paper begins by exploring whether a “tendency to avarice” exists in most capitalist business organisations. It concludes that it does and that this is problematic. The problem centres on the potential threat to the integrity of human character and the disablement of community.What, then, can be done about it? Building on previous work (Moore, 2002) in which MacIntyre’s notions of practice and institution were explored (MacIntyre, 1985), the paper offers a philosophically based argument in favour of the rediscovery of (...) craftsmanship by those who work in business organisations, and the exercise of craftsmanship in community.The practical implications for individuals of this way of conceptualising business, and the virtues which must then come to the fore, are discussed. (shrink)

Nietzsche, Biology and Metaphor explores the German philosopher's response to the intellectual debates sparked by the publication of Charles Darwin's Origin of Species. By examining the abundance of biological metaphors in Nietzsche's writings, Gregory Moore questions his recent reputation as an eminently subversive and (post) modern thinker, and shows how deeply Nietzsche was immersed in late nineteenth-century debates on evolution, degeneration and race. The first part of the book provides a detailed study and new interpretation of Nietzsche's much disputed relationship (...) to Darwinism. Uniquely, Moore also considers the importance of Nietzsche's evolutionary perspective for the development of his moral and aesthetic philosophy. The second part analyzes key themes of Nietzsche's cultural criticism - his attack on the Judaeo-Christian tradition, his diagnosis of the nihilistic crisis afflicting modernity and his anti-Wagnerian polemics - against the background of fin-de-siècle fears about the imminent biological collapse of Western civilization. (shrink)

Mesoamericans' rich spiritual beliefs about the importance of animals and about the correlation between the well-being of animals and that of human beings contrast with a diminutive respect accorded to animals in industrialized cultures. Some vestige of a parallel sensibility, however - granting animals an aura of dignity relatively independent of anthropocentric constructions - may be detected in the animal poetry of selected Western writers including Marianne Moore, Gary Snyder, and José Emilio Pacheco. Such animal poetry, although possessing no (...) explicit links to Mesoamerican spirituality, may represent an ethos extant in industrial-world culture that quietly celebrates - as Mesoamerican culture does more unabashedly - the sanctity and parity of nonhuman animals. (shrink)

Humans alone acquire language. According to one influen- tial school of thought, we do this because we possess a uniquely human ability to act with and attribute “Gricean” communicative intentions. A challenge for this view is that attributing communicative intent seems to require cognitive abilities that infant language learners lack. After considering a range of responses to this challenge, I argue that infant language development can be explained, because Gricean communication is cognitively less demanding than many suppose. However, a consequence (...) of this is that abilities for Gricean communication are unlikely to be uniquely human. (shrink)

Rachel Galvin’s News of War: Civilian Poetry 1936–1945 is a focused and forceful study of six major modernist poets who crafted similar styles in response to WWII and the Spanish Civil War: César Vallejo, W.H. Auden, Wallace Stevens, Raymond Queneau, Marianne Moore, and Gertrude Stein. A chapter is dedicated to each of these poets, with the exception of Auden, in many respects the book’s central figure, who is treated in two consecutive chapters. As can be seen in her choice (...) of poets, Gavin’s approach is transnational and multilingual. This allows her to draw startling parallels between poets who, though given ample critical attention individually, are rarely mentioned in the same breath. It also allows her to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 368-370 [Access article in PDF] Book Review Skeptical Music: Essays on Modern Poetry Skeptical Music: Essays on Modern Poetry, by David Bromwich; xvii & 256 pp. Chicago: University of Chicago Press, 2001; $49.00 cloth, $16.00 paper. In his preface to this gathering of his essays and reviews on twentieth-century American and British poetry, David Bromwich regrets that it is "too late to suppress the (...) evidence of a critic educating himself in public" (p. xi). But even the earliest work reprinted in Skeptical Music--"The Making of the Auden Canon," published in the Times Literary Supplement in 1976, when the author was still a graduate student at Yale--hardly qualifies as juvenilia. Indeed, in Bromwich's case, evidence of a critic educating himself in public seems to have been suppressed from the start. No single explanation will account for an author's precocity, but the consistency of Bromwich's critical voice over the last quarter century is certainly related to his early preoccupation with William Hazlitt, the subject of his first book. In choosing Hazlitt as his model, Bromwich rejected what he took to be the legacy of systematic and professional literary theory extending from Coleridge to each new school of academic criticism. Bromwich's own development as a critic has therefore been subtler and more introspective than the critical retooling of so many of his colleagues. Although never far from the evaluative art of the reviewer, Bromwich has come to favor the more speculative dimension of his work. The more recent the piece, the more overt the attempt to imagine "what was in the poet's mind, or what was in the poem's mind, on the theory that certain thoughts and feelings are worth the trouble to characterize because of their strangeness and originality" (p. xi).Some of the most compelling chapters in Skeptical Music imagine what was in the poet's mind, or the poem's mind, by telling stories about complex relationships between poems by different poets--between the work of Marianne Moore and Elizabeth Bishop, or T. S. Eliot and Hart Crane. These are stories about literary influence, or deep temperamental affinity. As in Harold Bloom's work, the stories are grounded in close readings, usually of the passages the critic prizes for their aesthetic superiority.A related procedure is at work in "Stevens and the Idea of the Hero"--a long speculative piece on Wallace Stevens's transfer of allegiance, at a crucial moment in his career, from the pragmatism of Nietzsche to the pragmatism of William James. What Stevens found "most persistently attractive" in Nietzsche's pragmatism, Bromwich coolly explains, was "the suggestion that the good of existence is change" and that "our most vivid acknowledgment of that good comes from the ability to imagine a life wiped clear of ourselves" (p. 71). But the Nietzschean sublime proved insufficient for Stevens. During the Second World War, the poet was confronted by "the reality of American soldiers going off to fight... for a cause which, as Stevens saw it, they could only make true by their fighting" (p. 68). Stevens turned to James for "the less brutal idea of a [End Page 368] man or woman who is made great by an enterprise in which others have a part" (p. 78).Bromwich's argument that Stevens became a more valuable poet when he located heroism in human solidarity, not just Nietzschean contingency and self-creation, bears a family resemblance to the work of one of James's heirs, Richard Rorty. Like Rorty, Bromwich often feels the pressure to adjudicate between the claims of the individual artist and the claims of the community; and like Rorty, he makes his judgements on a case by case basis, without recourse to a set standard, rule, or theory. In the closing chapter of Skeptical Music--"Is Taste Moral?"--Bromwich directly addresses the tension between aestheticism and the social good, a subject that also surfaces at the close of his preface and at numerous moments throughout the book. But the claims of the community seem relatively muted... (shrink)

A caged animal in the heart of the city, thousands of miles from its natural habitat, neurotically pacing in its confinement . . . Zoos offer a convenient way to indulge a cultural appetite for novelty and diversion, and to teach us, albeit superficially, about animals. Yet what, conversely, do they tell us about the people who create, maintain, and patronize them, and about animal captivity in general? Rather than foster an appreciation for the lives and attributes of animals, zoos, (...) in Randy Malamud's view, reinforce the idea that we are, by nature, an imperial species: that our power and ingenuity entitles us to violate the natural order by tearing animals from the fabric of their ecosystems and displaying them in an "order" of our own making. In so doing, he argues, zoos not only contribute to the rapid disintegration of our ecosystems, but also deaden our very sensibilities to constraint, spatial disruption, and physical pain. Invoking an array of literary depictions of animals, from Albee's Zoo Story and Virginia Woolf's diaries to the films of Harold Pinter and the poetry of Marianne Moore, Reading Zoos links culture, literature, and nature in an engaging and accessible introduction to environmental ethics, animal rights, cultural critique, and literary representation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.1 (2004) 220-223 [Access article in PDF] Doing Our Own Thing. The Degradation of Language and Music and Why We Should, Like Care, by John McWhorter; xiv & 279 pp. New York: Gotham Books, 2003, $26.00. In 2002, the first anniversary of the September 11th attacks was marked in New York City by the reading of the Gettysburg Address. It was, as many commentators noted, an (...) odd choice of eulogy, comparing as it did the unwitting and innocent victims of a terrorist attack to the willing and active [End Page 220] participants in a bloody civil war. In Doing Our Own Thing, the Berkeley linguist John McWhorter asserts that this strange choice was the result of a decline in American public discourse. A "particular kind of artful English, formerly taken for granted as crucial to legitimate expression on the civic stage has" he argues, "virtually disappeared" (p. xiv). For McWhorter, this lack of contemporary public oratory is merely part of a broader linguistic decline that has affected all aspects of American life and culture.There has, he suggests, been a dumbing-down of the language. Whereas Americans once took care to craft their language, public and private, McWhorter argues, there is now a casualness to their speech and writing which affects all aspects of their existence. The nature of this decline is best captured by McWhorter's anecdote about his research into Gullah, an obscure Creole dialect. In response to his inquiries about local speech patterns, an elderly black woman in Greenwood, Mississippi responded: "Well, seems like most folks, they speak pretty good English, but some people, it seems like they just talk" (p. 2). Whereas Americans once spoke pretty good English, McWhorter believes, now, for the most part, they just talk. In Doing Our Own Thing, he seeks to identify not only evidence for his thesis, but also the causes and consequences of this decline.Evidence of linguistic decline is, McWhorter believes, to be found in our public discourse (as evidenced by the contemporary use of the Gettysburg Address), and in the rise of rap music and popular lyrics at the expense of poetry—he notes that as late as the 1960s, the poet Marianne Moore was a guest on The Tonight Show twice. Less intuitively perhaps, he identifies the same decline in the decreased popularity of piano bars, and the rising popularity of cell-phones. What all these examples of have in common, McWhorter suggests, is a turn towards an oral as opposed to a written culture. Speech has, he says, become something of a "dress-down affair" (p. 49), and this has infected both our written word and public oratory. The "modern American speech writer" he notes, "tends strongly to operate under a guiding imperative not to sound too high a note" (p. 47). McWhorter contrasts this with examples from the nineteenth-century—with letters from ordinary soldiers to their sweethearts, and with Edward Everett's two-hour plus address at Gettysburg—which show that "we live in an America with a distinctly different relationship to the English language than an America still within living memory" (p. 167).For McWhorter, the causes of this decline are clear. The 1960s counterculture, in its efforts to "Speak Truth to Power, abandoned the formal conventions of previous generations' speech, and adopted its own more casual approach to public discourse. Indeed, McWhorter feels confident enough to identify "a single year when America lost its love for its language": 1965 (p. 183). The consequences of this decline are, for McWhorter, similarly obvious. Among them, the shift to an oral culture is held to be responsible for: the election of George W. Bush—Al Gore's "studied articulateness is certainly one of the major [End Page 221] factors that blocked him from winning the presidency" (p. xxi); the decline of contemporary political debate—more formal written language is, says McWhorter, "a better vehicle for objective argument than speech" (p. 35); and the increasingly obtuse nature of academic language. Indeed, McWhorter asserts that Judith Butler... (shrink)

This is a book about the philosophy of Henri Bergson which shows how relevant Bergson is to much contemporary philosophy. The book takes as its point of departure Bergson's insistence on precision in philosophy. It then discusses a variety of topics including laughter, the nature of time as experienced, how intelligence and language should be construed as a pragmatic product of evolution, and the antinomies of reason represented by magic and religion. This is not just another exposition of Bergson's work. (...) It offers an account of why Bergson commanded such a massive reading public in his own day and why he deserves to be read now. Written in a terse and clear style, this book will prove appealing to teachers and students of philosophy, cognitive science, psychology, religious studies and literature. (shrink)

A poem is not particular in the way a painting is particular. A copy of a poem is still the poem, while a copy of a painting is not the painting. But a poem is still particular, since it seems to be constituted by a specific set of words in a specific order such that to alter that order or any of those words is to make a new poem. Marianne Moore begins her poem “An Egyptian Pulled Glass Bottle (...) in the Shape of a Fish” in the following way: She might have revised this and replaced “perpendicularity” with “verticality.” This says the same thing, but it is not the same poem. The particularity of a poem, relative to the words that make it up, constitutes a... (shrink)

In 'A Puzzle about Belief' Saul Kripke appeals to a principle of disquotation that allows us to infer a person's beliefs from the sentences to which she assents (in certain conditions). Kripke relies on this principle in constructing some famous puzzle cases, which he uses to defend the Millian view that the sole semantic function of a proper name is to refer to its bearer. The examples are meant to undermine the anti-Millian objection, grounded in traditional Frege-cases, that truth-value is (...) not always maintained when co-referential names are intersubstituted in belief reports. I argue here that our disquotational practice is sensitive to certain shifts in conversational context, and it is only if we overlook these shifts - if we 'misdisquote' - that we can draw the conclusions Kripke wants to draw from his examples. In the wake of this conclusion, I provide a 'contextualist' treatment of Kripke's puzzle cases. I show how this treatment is motivated by certain norms of rationality, and I defend these norms against an intriguing 'anti-Cartesian' theory of mind. Throughout the paper, I develop the larger implications that my treatment of Kripke's argument has for the semantic theory of names and belief reports, and, more generally, for our picture of the relation between linguistic behaviour and our states of mind. (shrink)

In this article I argue that the proper subjects of intangible property claims include medical records, genetic profiles, and gene enhancement techniques. Coupled with a right to privacy these intangible property rights allow individuals a zone of control that will, in most cases, justifiably exclude governmental or societal invasions into private domains. I argue that the threshold for overriding privacy rights and intangible property rights is higher, in relation to genetic enhancement techniques and sensitive personal information, than is commonly suggested. (...) Once the bar is raised, so‐to‐speak, the burden of overriding it is formidable. Thus many policy decisions that have been recently proposed or enacted – citywide audio and video surveillance, law enforcement DNA sweeps, genetic profiling, national bans on genetic testing and enhancement of humans, to name a few – will have to be backed by very strong arguments. (shrink)

Moore, Gerard Review of: Lost in translation: The English language and the catholic mass, by Gerald O'Collins, with John Wilkins, pp. 122, paperback, $29.95.

This article outlines an objective list theory of animal and alien well-being. Responding to three sorts of perfectionist criticism of such OLT, it argues that OLT is actually superior on each count. This is significant, because perfectionism is much discussed yet OLT is little discussed in philosophy of animal well-being, and because perfectionism can reasonably be expected to do comparatively well on the points where it is criticizing OLT.

Charlatan, magician, heroic man of action, revolutionary... Gurdjieff's rich and vivid life conjures up conflicting images. But who was the real Gurdjieff? On the fiftieth anniversary of Gurdjieff's death, James Moore draws on a lifetime's contact with Gurdjieffian pupils to tell the compelling and extraordinary stow of this eclectic revolutionary: his studies with the Red Hat Tibetan Lamas at the turn of the century, his travels disguised as a dervish, and how he was shot and almost killed twice. This inveterate (...) and restless seeker of the truth coaxed from archaic sources relevant philosophy that drew tides of men and women to his cause. Through the humanity and dry humor of his writing, and through scholarship evidenced in an unprecedented note section, Moore offers the reader an entertaining and reliable introduction to one of the most remarkable men of this century. (shrink)

Capturing the lively modernist milieu of Kenneth Burke's early career in Greenwich Village, where Burke arrived in 1915 fresh from high school in Pittsburgh, this book discovers him as an intellectual apprentice conversing with "the moderns." Burke found himself in the midst of an avant-garde peopled by Malcolm Cowley, Marianne Moore, Jean Toomer, Katherine Anne Porter, William Carlos Williams, Allen Tate, Hart Crane, Alfred Stieglitz, and a host of other fascinating figures. Burke himself, who died in 1993 at the (...) age of 96, has been hailed as America's most brilliant and suggestive critic and the most significant theorist of rhetoric since Cicero. Many schools of thought have claimed him as their own, but Burke has defied classification and indeed has often been considered a solitary, eccentric genius immune to intellectual fashions. But Burke's formative work of the 1920s, when he first defined himself and his work in the context of the modernist conversation, has gone relatively unexamined. Here we see Burke living and working with the crowd of poets, painters, and dramatists affiliated with Others magazine, Stieglitz's "291" gallery, and Eugene O'Neill's Provincetown Players; the leftists associated with the magazines The Masses and Seven Arts; the Dadaists; and the modernist writers working on literary journals like The Dial, where Burke in his capacity as an associate editor saw T. S. Eliot's "The Wasteland" into print for the first time and provided other editorial services for Thomas Mann, e.e. cummings, Ezra Pound, and many other writers of note. Burke also met the iconoclasts of the older generation represented by Theodore Dreiser and H. L. Mencken, the New Humanists, and the literary nationalists who founded Contact and The New Republic. Jack Selzer shows how Burke's own early poems, fiction, and essays emerged from and contributed to the modernist conversation in Greenwich Village. He draws on a wonderfully rich array of letters between Burke and his modernist friends and on the memoirs of his associates to create a vibrant portrait of the young Burke's transformation from aesthete to social critic. (shrink)

Moore, Gerard Review(s) of: The Billycart, the boxing tent, the battle: Life with haemophilia, by Anne Kearney, (Bloomington IN: Xlibris, 2013) pp.59, ISBN 9781483662893, $36.99.

Moore, Gerard Review(s) of: The trinity: Insights from the mystics, by Anne Hunt, A Michael Glazier Book, Collegeville: Liturgical Press. 2010, pp.190, ISBN 9780814656921, $37.95.

Le modèle évaluatif de l’amour est centré sur l’objet et basé sur les raisons : l’amour se fonde sur des raisons dérivées des propriétés appréciables de l’aimé. Le modèle attributif de l’amour est axé sur le sujet et non fondé sur les raisons : l’amour n’est pas basé sur des raisons dérivées des propriétés appréciables de l’aimé, mais provient plutôt de l’amant. Dans cet article, je mélange ces modèles opposés dans le but de préserver leurs vertus et de surmonter leurs (...) difficultés. Je propose un compte rendu de l’amour basé sur des motifs et axé sur le sujet : l’amour éclot chez l’amant mais, en lui, il repose sur les raisons qui motivent l’amant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Alcaics In Exile: W. H. Auden’s “In Memory Of Sigmund Freud”Rosanna WarrenOn September 23, 1939, Sigmund Freud died in exile in London, a refugee from Nazi Austria. Within a month, Auden, who had been living in the United States since January of that year, wrote a friend in England that he was working on an elegy for Freud. 1 The poem appeared in The Kenyon Review early in 1940. (...) A stately public ode, the poem mourns not only the death of a publicly significant individual, but the collapse of a world. Hitler had overrun Austria, Czechoslovakia, Poland; assaults on Jews had intensified; England and France had just declared war on Germany. There would be, indeed, many who would have to be mourned:When there are so many we shall have to mourn, when grief has been made so public, and exposed to the critique of whole epoch the frailty of our conscience and anguish,of whom shall we speak?...Someone encountering this poem for the first time, on the page or in the ear, might be pardoned for puzzling over its form. It sounds prosy. It seems to have some recognizable English cadences, pentameters (“[inline-graphic 01]”), tetrameters (“ ”), and even trimeters (“ ”). But the pattern seems unruly, with some [End Page 111] lines stretching out beyond five traditional beats, and ignoring any iambic order: “turned elsewhere with their disappointment as he.” Groping for a more satisfactory principle of organization, a reader with some knowledge of versification may be moved to count syllables. Such a reader will discover that the poem is indeed organized syllabically in lines of 11, 11, 9, and 10 syllables. “Aha,” says the reader, alert to Auden’s intimacy with Classical civilization: “A Horatian ode. Not inappropriate for a formal elegy.” Reflecting further, and leafing through the pages of Horace, that reader will find, or remember, that two thirds of Horace’s odes are in these quatrains, the alcaic stanza. Auden, it appears, has composed his elegy in some version of the meter of Alcaeus, the 7th century b.c.e. Greek poet whose stanza became second nature to Horace. And we cannot enter the world of Auden’s poem without asking, why alcaics? And how do they work here?“In Memory of Sigmund Freud” is sometimes said to be Auden’s first syllabic poem. 2 Others demur, proposing both earlier and later examples. 3 Whatever the spats about dating Auden’s early syllabic practice, scholars conventionally agree that his turn toward syllabic composition reflects his evolving interest in a discursive poetry; in the poet as a private intelligence with a public voice; and in the work, respectively, of Horace and Marianne Moore. Having identified the poem as syllabic, many critics move on to heftier topics like psychoanalysis versus Marxism, Auden more than most poets having laid himself open to an overridingly thematic criticism of Big Ideas. But if, having acknowledged the influence of Horace and Moore in Auden’s refusal of English iambic lyricism here, we stay with the question of meter, we are led back to the older progenitor, Alcaeus, a great poet of exile, whose stanza Auden adopts and adapts. I shall ask how it affects our reading to observe that the stanza itself has a genealogy, and brings its expressive burden to bear on Auden’s poem.“In Memory of Sigmund Freud” relies on a counterpoint of two metrical systems, the largely iambic accentual/syllabic system, traditional in English since Wyatt, and a flattened version of Greek quantitative meter, which was a musical notation of syllable length. For Auden, whose great prosodic facility was almost a handicap, the problem was, “not how to write in iambics but how not to write in them from automatic habit.” 4 Throughout his poetic life, he reached for cadences to interrupt the “natural” iambics, sometimes recalling the Old English alliterative beat, and often turning to ballads and popular tunes for rhythmical variation. By the late thirties, he was not only disillusioned [End Page 112] with the Spanish Civil War and his role as quasi-Socialist bard, but was seeking new compositional principles as well. Free verse was not an alternative: his ear required an evident... (shrink)

In present-day particle physics, empirical reasoning is highly inferential as experiments rely on complex instruments and an intensive use of computer-based methods. This paper investigates how these methods impact the evidential status of the data produced, using an expanded epistemic risk framework. Based on a case study from a top-quark physics experiment, we clarify the relationship between inductive and other epistemic risks. We argue that various epistemic risks that arise ahead of evidence affect the inductive risk of the experimental results, (...) and propose an understanding of epistemic risk in relation to different epistemic goals. Specifically, the case study shows how experimental tasks and their associated goals relate to the epistemic aim of the experiment, by revealing modalities of risk and risk dynamics throughout the experimental process. (shrink)

Over the last decade, numerous interventions and techniques that aim to engender, strengthen, and expand compassion have been created, proliferating an evidence base for the benefits of compassion meditation training. However, to date, little research has been conducted to examine individual variation in the learning, beliefs, practices, and subjective experiences of compassion meditation. This mixed-method study examines changes in novice meditators’ knowledge and contemplative experiences before, during, and after taking an intensive course in CBCT®, a contemplative intervention that is increasingly (...) used for both inter- and intrapersonal flourishing. The participants in this study were Christian healthcare chaplains completing a 1-year residency in Clinical Pastoral Education who learned CBCT as part of their professional chaplaincy training curriculum. Prior to and upon completion of training, we surveyed participants to assess their beliefs about the malleability of compassion, types of engagement in compassion meditation, and perceptions of the impact of taking CBCT. We also conducted in-depth interviews with a subset of participants to gain a qualitative understanding of their subjective experiences of learning and practicing compassion meditation, a key component of CBCT. We found that participants reported increases in the extent to which they believed compassion to be malleable after studying CBCT. We also found high levels of variability of individual ways of practicing and considered the implications of this for the study of contemplative learning processes. This multi-methodological approach yielded novel insights into how compassion practice and compassion-related outcomes interrelate, insights that can inform the basic scientific understanding of the experience of learning and enacting compassion meditation as a means of strengthening compassion itself. (shrink)

Professor Foxall suggests the radical behaviorist language of contingencies is fine as far as it goes, and is quite suitable for matters of prediction and control. However, he argues that radical behaviorist language is extensional, and that it is necessary to formally incorporate the intentional idiom into the language of behavioral science to promote explanations and interpretations of behavior that are comprehensive in scope. Notwithstanding Professor Foxall's arguments, radical behaviorists hold that the circumstances identified by the use of the intentional (...) idiom are accommodated by the radical behaviorist language of contingencies, not only for prediction and control but also for explanations and interpretations. Of central importance is that individuals may have histories that lead them to generate descriptions of past and present behavior, as well as descriptions of prevailing circumstances that have caused that behavior or are likely to cause that behavior in the future. The resulting verbal behavior may then enter into contingencies influencing their behavior, although the extent to which it does so varies across individuals as a function of their histories. Overall, the way that the pragmatism of radical behaviorism conceives of the nature and contribution of covert events differs appreciably from the way Professor Foxall conceives of the nature and contribution of intentional phenomena. (shrink)