William Paley in his famous statement in 1800 of the Argument from Design, imagined that he found a watch lying on a heath and set to wondering how it came to be there. “The inference is inevitable, that the watch must have had a maker: that there must have existed, at some time, and at some place or other, an artificer or artificers who formed it for the purpose which.

When Journeys Through Philosophy first appeared in 1977, it quickly established a reputation as one of the most complete and versatile introductory philosophy textbooks for the beginning student. Combining carefully chosen selections from the original works of many eminent philosophers with invaluable commentaries designed to illuminate the ideas of these great minds, and an extensive section on how one should read philosophy, the editors have answered the instructional needs of students and teachers alike. The revised edition contains selections by Denis (...) Diderot, Kierkegaard, Irving Kristol, Paul Kurtz, George Moore, William Paley, Jean-Paul Sarte, and John Wisdom, in addition to many of the excerpts from classical and contemporary thinkers found in the earlier edition. The highly acclaimed section on how to read philosophy is complemented by the addition of new introductions. Journeys Through Philosophy is surely destined to become the introductory philosophy textbook for our times. (shrink)

This paper argues that recognition is, fundamentally, a relationship between a person and a reason. The recognizer acts for a reason, in the interpersonal case, only when she takes the recognizee’s rational intentions—intentions whose content is favored by reasons—as reasons. Free agency, on this view, is a rational power to act for reasons: the recognizer’s disposition to take the recognizee’s rational intentions as reasons across relevant possible worlds in which she forms these intentions. On the basis of this generic account (...) of free agency, I argue that free productive agency is a rational power to produce for reasons: the recognizer’s disposition to take the rational productive intentions of the recognizee as reasons across relevant possible worlds in which she forms these intentions. But capitalism makes it impossible to satisfy this requirement, for it subjects the taking of reasons to the realization of profit. So capitalism makes capitalist and worker unfree and the realization of free productive agency impossible. (shrink)

Contemporary philosophy of art generally assumes that aesthetic experience is constituted by a certain ontological-phenomenological structure: the apprehension by a subject of an object. This article explores an underexamined critique of this philosophical model found within the black intellectual and artistic tradition. I will specifically focus on the version of this critique proposed by the similarly underexamined black philosophers Adrian Piper and Fred Moten. This critique, which I dub the subjectivizing concern, takes issue with the notion of ontological distance that (...) I argue defines the subject-object model. I define ontological distance as the removal and alienation of the subject’s fundamental sense of self from that of so-called objects. The subjectivizing concern holds that this distance is not value neutral. Rather, the subject-object model is considered to be directly entwined with projects and practices of aesthetic and extraesthetic racism and antiblackness. After offering Piper’s own model of aesthetic experience—which she dubs catalysis—as an alternative, I propose three possible ways in which the subject-object model can be conceived as tied to antiblack racism. (shrink)

This paper addresses the praiseworthiness dilemma posed by Taylor Cyr and Matthew Flummer, which questions whether faith, as a fulfillment of moral obligation, warrants moral praise. By examining two theological concerns—Semi-Pelagianism and the Praiseworthiness Worry—the paper explores the tension between human faith and divine grace. After analyzing three strategies proposed by Cyr and Flummer, I argue that while fulfilling obligations may demonstrate praiseworthy traits, it does not inherently render individuals praiseworthy. The proposed framework reconciles faith as moral duty with God's (...) praiseworthiness, alleviating the issue of moral praise. (shrink)

Argues that we are witnessing the development of a new norm of military intervention for humanitarian purposes in contemporary international society. Since the end of the Cold War, the United Nations Security Council has been more active in the realm of intervention, extending its Chapter VII powers into matters that had previously belonged to the domestic jurisdiction of states. Without the material power of Western states, this activism would not have been possible. However, a purely materialist explanation for this development (...) fails to consider the changed normative context within Western states that permitted, and in some cases encouraged, intervention. While normative evolution has occurred, it is also limited in its scope, specifically over the question of whether military intervention must have Security Council authorization. (shrink)

This piece seeks to explore notions of commemoration and autobiography with particular reference to the life and work of Laura Marcus. Special attention is given to her Auto/Biographical Discourses, Virginia Woolf and Autobiography, as well as Paul de Man’s essay ‘Autobiography as De-Facement’, the work of Jacques Derrida, and Woolf’s ‘biography’, Orlando.

This essay is an exercise in the phenomenology – and post-phenomenology – of reading in relation to Elizabeth Bowen’s The Hotel (1927), a novel that thematizes and reflects on the uncanny status of reading and provokes in response an experimental critical ABC. Special attention is given to the work of French psychoanalyst Charles Baudouin in foregrounding the role and effects of suggestion in reading. Engaging with the concerns of writing and reading fiction in the ‘Anthropocene’ (especially in the form of (...) what is here called twi-fi) and drawing on notions of literary anachrony, cryptaesthetic resistance, queerness and deferred effect, the essay offers a new critical appreciation of the singularity of Bowen’s novel. (shrink)

Much theorizing on the aesthetics of nature focuses on its uniqueness qua nature. An overly-inflated sense of the ethical and aesthetic normative force of this focus has resulted in a general paucity of philosophical investigation into artified nature. The investigations that do exist typically refuse to or are unable to marshall the theoretical resources of nature aesthetics, which are taken to only apply to live nature. Here, I resist such wing-clipping by taking artified nature–specifically, filmed nature–to deserve its own discrete (...) theorizing while nonetheless insisting upon, and taking full advantage of, a robust connection between filmed and live nature. I do so by arguing that cinema can successfully remediate an important, and unique, element of the aesthetic experience of live nature: namely, its engaged environmental character. (shrink)

This paper argues that there is a conceptual connection between economic exploitation and domination. If I am right, then exploitation is a form of domination, rather than a form of distributive injustice. It follows that the contemporary infatuation of many analytical Marxists with distributive injustice is misguided, and their attention is better spent studying relations of power, in particular the possibility of abstract forms of domination.

Marxists are committed to the elimination of exploitation of man by man. But they also believe that, for long stretches of history, exploitation is historically necessary. These two claims are in practical tension. As Engels would have it, this tension causes 'the leader of an extreme party' attempting premature revolution to be 'irrevocably lost'. This brief note argues against a Marxist attempt to alleviate this tension and sketches the moral predicament of revolutionists faced with it. Historical materialism entails a pantragic (...) view of history. (shrink)

In advocating an extreme form of specification requiring the abolition of separate senses, Stoffregen & Bardy run the risk of diverting attention from the multisensory integration of perception and action they wish to champion.

Julian of Norwich's Revelation of Love is an exploratory account of supernatural events she experienced in May 1373, when she was thirty years old. Lying ill in bed, apparently near death, she suddenly began to see, reflected in a crucifix being held before her face, a series of details from Christ's Passion: his blood, flowing down from under the crown of thorns ; his body, buffeted by unseen agencies ; the drying of his facial skin as he hung on the (...) cross ; and the “chawngynge of his chere” as, at the moment of death, he returned to joyous life. These “bodylye syght[s]” were gradually succeeded by other, less easily identifiable “gastelye syght[s],” and laconic “worde[s] formede in [her] vndyrstandynge” , spoken by Christ in explanation of elements of the vision, as this moved away from the Passion narrative into deeper theological waters, ending with a “gastelye syght” of Jesus sitting, God and human, in the city of Julian's soul . After first being doubtful of the validity of this experience, which was of great complexity and lasted for many hours , Julian came to view it as a single and theologically integrated revelation sent by God not only to her but to all Christians. (shrink)

Contrary to the hegelian thought that harmonizing eudaimonism was manifested most fully in the Classical period of Greek ethics, it is in fact the Hellenistic period after Aristotle that shows the most forthright attempts to produce ethical views that do not generate conflicts between rational aims. This is partly the result of the Hellenistic attempts to generate positions that, unlike the doctrines of Plato and Aristotle, possess a high degree of systematic coherence. Epicurean hedonism is a case in point, as (...) is Stoic ethics, which goes a considerable way toward eliminating the very idea of a distinction between what is good for oneself and what is good in a global, non‐self‐referential way. (shrink)

Before Plato there are ample cases in which Greek poets, philosophers, and politicians recognize the possibility that individual and social good can conflict. Nor does Plato think that a full understanding of the notion of one's good must demonstrate that it cannot conflict with standards of justice. On the contrary, Plato holds that such conflicts can occur even in the case of the rulers of his ideal city‐state. This idea is not contradicted by evidence of other works, such as the (...) Meno, the Symposium, and the Philebus. Nevertheless, although Plato's view admits what is normally thought to be a characteristically Kantian conflict of ethical standards with one's good, it still possesses some distinctly eudaimonistic elements that are at variance with the Kantian view. (shrink)

The historiography of Greek ethics has, since the days of Winckelmann, Schiller, and Hegel, been shaped by an effort to use it in modern debates. Kantians believed that the Greeks ignored the notion of morality. Hegelians by contrast thought that they understood how to show that one's own happiness is compatible with the happiness of others and conformity to ethical norms—either through inclusivism or fusionism.

The article raises an objection against michael dummett's defence of frege's thesis that incomplete expressions refer to concepts. Even if dummett has shown that predicates refer to concepts, He has not shown that the concepts referred to exist. Although dummett tries to justify the claim that concepts exist, The sense of 'exist' in this claim is not the customary one but is introduced by mere stipulation. Furthermore, Even if 'concepts exist' is true, It can be argued on fregean grounds that (...) it ascribes existence only to fregean objects, Not to concepts. (shrink)

The present article re-examines the tomb monuments in the parekklesion and the outer narthex of the main church of the Chora monastery, which are generally thought to date from the early Palaiologan period. Based on the analysis of the iconography and style of the frescoes adorning the tombs, it is suggested that some of the burials should be re-dated at least a few decades later. The frescoes in the lunette of the Tomb of Michael Tornikes appear to have been executed (...) shortly after 1350 and the decoration of Tombs C and E must date from around the same time. The portraits in Tombs F and G date from the 15th century. The epigraphic evidence and the images illustrate the continuing use of the Chora by its patrons, members of various branches of the Tornikes, Asanes, Raoul, and Dermokaites families, during the last century of the monastery. (shrink)

The chapter sets forth a conceptual model of a comparative institutional approach to law and economics that can help make the meaningful alternatives known to society. The driving force behind such an approach is the need to come to grips with the interrelations between legal and economic processes. Consistent with the thrust of old and new institutional economics, institutional structure cannot merely be assumed away or taken as given; rather, institutions must be the subject of study involving a comparison of (...) the effects of institutional alternatives on our environment, natural resources, and use of land. The chapter includes a discussion of the i) constitutional, ii) institutional, and iii) economic-impact stages of choice, focusing on four different means of social control that serve to allocate society’s scarce resources, namely the market sector, the public sector, the communal sector, and the openaccess resource sector. Environmental, natural resource, and land-use examples are included in the analysis of each stage of choice in exploring the consequences of fashioning remedies within the market sector, the public sector, the communal sector, or leaving resources in the open-access resource sector. It presents a perspective that avoids the rhetorical policy stance of “government versus the market” by showing that economic performance is driven by i) law, ii) technology and iii) social norms. In this, the state stands as an essential complement to the market sector, the public sector, and the communal sector and not a substitute for them; each exists through the active role of government not by government forbearance.Ce chapitre présente un modèle conceptuel d’une approche institutionnelle comparative en analyse économique du droit, aidant à faire connaître d’autres alternatives à la société. Cette approche permettra d’approfondir, les interrelations entre les processus économiques et juridiques. Selon les principes de l’ancienne et de la nouvelle économie institutionnelle, la structure des institutions ne peut pas être supposée donnée ou absente de l’analyse. Plutôt, les institutions doivent être l’objet d’étude, et l’on doit s’attacher à comparer les effets des différentes alternatives sur l’environnement, les ressources naturelles et l’utilisation de la terre. Ce chapitre contient une discussion des étapes de choix constitutionnels, institutionnels et des impacts économiques. Il se concentre sur quatre moyens différents de contrôle social, qui servent à allouer des ressources rares de la société, notamment le marché, le secteur public, le secteur de communautés, le secteur des ressources d’accès libre. Les exemples environnementaux, ceux des ressources naturelles, et de l’utilisation des terres sont considérés dans l’analyse de chacune des étapes de choix, en analysant les conséquences de la confection de remèdes au sein respectivement, du secteur de marché, du secteur public, du secteur des communautés, ou lorsque l’on laisse libre les ressources du secteur d’accès libre. Il fournit une perspective qui évite les positions rhétoriques de politiques “Etat versus marché” en montrant que la performance économique est liée au droit, à la technologie et aux normes sociales. Dans cette perspective, l’Etat est considéré comme un complément essentiel du marché, du secteur public, du secteur communal et non comme un substitut; chacun de ces secteurs existe à travers le rôle actif de l’Etat. (shrink)

If stem cells ever show promise in treating diseases of the human brain, any potential therapy would need to be tested in animals. But putting human brain stem cells into monkeys or apes could raise awkward ethical dilemmas, like the possibility of generating a humanlike mind in a chimpanzee's body.

This set reprints eight rare volumes, covering the origins of neurology from 1803, the time when the brain was first identified as being the centre of the mind, to 1906. It includes a new introduction and the essential works of Bell, Gall, Mueller and Ferrier.

_An introduction to Thomas Hobbes as a systematic and not merely political philosopher._.

Resumen: Partiendo del texto clásico Vanguardia y kitsch, nos proponemos analizar la obra del crítico norteamericano Clement Greenberg. Después de la intervención del Estado norteamericano en el arte entre 1935 y 1943, Clement Greenberg surge como uno de los principales críticos que buscaron unificar el “arte elevado” de ese país. Para tanto, el crítico norteamericano busca justificar el nivel artístico de esa vanguardia acercando esa producción a las vanguardias europeas, especialmente el cubismo. Veremos los problemas de Greenberg al forjar una (...) “historicidad inmanente” a las obras de arte para justificar una posible convergencia de las vanguardias europeas en el nuevo contexto de la vanguardia norteamericana: el “expresionismo abstracto”. Greenberg, con ayuda del MoMA y del Estado norteamericano buscó fomentar una “pintura a la americana”, una vanguardia conocida como escuela de Nueva York. Buscamos analizar el contexto en que se forjó esa tendencia artificiosamente unificada y cómo el pop art emerge como una crítica performática de ese contexto. Más que vanagloriarse de sus métodos técnicos, el pop art busca subvertir el contexto de recepción del arte que hasta entonces era expectante del “arte serio y elevado” defendido por Greenberg.: Starting from the classic text Avant-garde and kitsch, we propose to analyze the work of the North American critic Clement Greenberg. After the US state intervention in the arts between 1935 and 1943, Clement Greenberg emerged as one of the main critics who sought to unify the “high art” of that country. The critic attempted to justify the artistic level of the American avant-garde by bringing it closer to the European avant-gardes, especially Cubism. We will see Greenberg’s problems in forging an “immanent historicity” of works of art in order to justify a possible convergence of the European avant-garde in the new context of an American avant-garde of “abstract expressionism”. Greenberg, with the help of the MoMA and the American government, sought to promote an “American painting”, a vanguard known as the New York school. We seek to analyze the context in which this artificially unified tendency was forged, and to analyze how pop art emerged as a performance critique of that context. More than boasting of its technical methods, pop art sought to subvert the context of the reception of art that until then expected the “serious and high art” defended by Greenberg. (shrink)

The paper is partly biographical and partly philosophical. It traces Russell’s philosophical interactions with the British neo-Hegelian philosopher, Harold Joachim, from Russell’s days as an undergraduate in the 1890s to his scathing review of Joachim’s inaugural lecture as Wykeham Professor of Logic at Oxford in 1920. The philosophical part attempts to evaluate Russell’s main argument against Joachim’s coherence theory of truth, that it is equivalent to the doctrine of internal relations. The paper makes use of Russell’s recently discovered letters to (...) Joachim. (shrink)