How is it that we think and refer in the first-person way? For most philosophers in the analytic tradition, the problem is essentially this: how two apparently conflicting kinds of properties can be reconciled and united as properties of the same entity. What is special about the first person has to be reconciled with what is ordinary about it. The range of responses reduces to four basic options. The orthodox view is optimistic: there really is a way of reconciling these (...) apparently contradictory properties as contained within the same thing. The heretical views are pessimistic and content to be so: there is no such way, and that is because there is simply nothing to reconcile – because there is really nothing special about what is in question; or there is really nothing ordinary about it; or there is really nothing …. (shrink)

We define in precise terms the basic properties that an ‘ideal propositional paraconsistent logic’ is expected to have, and investigate the relations between them. This leads to a precise characterization of ideal propositional paraconsistent logics. We show that every three-valued paraconsistent logic which is contained in classical logic, and has a proper implication connective, is ideal. Then we show that for every n > 2 there exists an extensive family of ideal n -valued logics, each one of which is not (...) equivalent to any k -valued logic with k < n. (shrink)

Paul O'Grady clearly distinguishes five main kinds: relativism about truth, relativism about logic, ontological relativism, epistemological relativism, and, finally, relativism about rationality. In each case he shows what makes a position relativist and how it differs from a sceptical or pluralist position. He ends by presenting a thoroughly integrated position that rejects some forms while defending others. The book includes discussion of recent work by Putnam, Devitt, Searle, Priest, and Quine and offers a succinct survey of contemporary debates. This lively (...) discussion of the issue will be welcome reading for all those involved in philosophical inquiry. (shrink)

There is something it is like for me to hear a seagull crying, something it is like to see a boat in the distance, and something it is like to suffer a slight headache. Each of these local conscious experiences have their own phenomenal character. The experiences are phenomenally unified just in case there is also something it is like to enjoy these and all the other local experiences I have at the relevant time together. For there is also something (...) it is like to be me overall: my global conscious experience has a phenomenal character. But what is it like to be me overall? What is the relationship between the phenomenal characters of local experiences and the phenomenal character of the global experience to which they contribute? This paper argues that our concepts of local and global conscious experiences allow for three completely different conceptions of how the former combine into the latter. It also argues that this shows that our concepts of local conscious experiences, global conscious experiences, and of their relationship are much more permissive than we might have thought. (shrink)

Onora O'Neill; I *—The Presidential Address: Constructivisms in Ethics, Proceedings of the Aristotelian Society, Volume 89, Issue 1, 1 June 1989, Pages 1–18, ht.

The Lancet–O’Neill Institute/Georgetown University Commission on Global Health and Law published its report on the Legal Determinants of Health in 2019. The term ‘legal determinants of health’ draws attention to the power of law to influence upstream social and economic influences on population health. In this article, we introduce the Commission, including its background and rationale, set out its methodology, summarize its key findings and recommendations and reflect on its impact since publication. We also look to the future, making suggestions (...) as to how the global health community can make the best use of the Commission’s momentum in relation to using law and legal tools to advance population health. (shrink)

Keine ausführliche Beschreibung für "Gegenwart und Zukunft der Philosophie in Deutschland" verfügbar.

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the 18th century. James O. Young presents the first complete English translation of the work, with full annotations and a comprehensive introduction, which illuminate Batteux's continuing philosophical interest.

Acquaintance with the work of "Problems of Ukrainian Religious Consciousness" by Arsen Richinsky showed that the questions raised by the researcher at the beginning of XX century. even more actualized at the beginning of the XXI century. - in the period of Ukrainian Independent Nation's approval, when with the adoption of the Law of Ukraine "On Freedom of Conscience and Religious Organizations", in 1991 the influence of religious factor on the consciousness of Ukrainian society increased. This research, without exaggeration, is (...) a tremendous contribution to the Ukrainian theoretical and practical religious studies. Also important is the scientific editing and streamlining of its leading contemporary scholars in the field of national-religious issues A. Kolodny, O. Sagan, and A. Goodyma, without which it would remain unknown to the reader and history as a whole, and would not be an incomplete component of the Christian factor - universal perception of the gospel doctrine through the prism of national color. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 142-154 [Access article in PDF] Critical Discussions The Fortunes of Avant-Garde Poetry Mary Anne O'Neil Invisible Fences. Prose Poetry as a Genre in French and American Literature, by Steven Monte; xii & 298 pp. Lincoln: University of Nebraska Press, 2000, $50.00. Modern Visual Poetry, by Willard Bohn; 321 pp. Newark: University of Delaware Press, 2000, $47.00. The situation of French poetry at the turn (...) of the twenty-first century is far different from what it was during the last fin de siècle. In 1900, poetry was a booming art, and France was home to numerous poets of varied inspiration and expression. The religious verse of Claudel and Péguy shared the attention of the reading public with the philosophical poetry of Valéry and the futuristic celebrations of Paris and modern life found in Apollinaire's Alcools and Calligrammes. Long poems, short poems, poems written in standard verse, free verse, prose, and even published as drawings, suggested that the golden age of poetry begun in the early nineteenth century by the Romantics and continued after 1850 by Baudelaire, Verlaine, Rimbaud, and Mallarmé, would not soon come to an end. This indeed proved to be the case, for the heirs of the Symbolist tradition of the first decade of the twentieth century were soon followed by the Surrealist revolutionaries of the 1920s and 1930s, many of whom directed their talents to the composition of political verse at the time of the Second World War. Political poetry by and large disappeared from France after 1950, only to be [End Page 142] succeeded over the next two decades by two very different types of verse. On the one hand, writers like St. John Perse and Pierre Jean Jouve produced difficult works whose appeal was limited to a sophisticated audience, while lyricists, such as Jacques Prévert and even the songwriter Georges Brassens, made poetry more accessible to the general public, often through popular songs. The fact that, during the days of May 1968, students scrawled verses of the Surrealist-Communist poet Paul Eluard on the walls of the Sorbonne to encourage efforts to bring down the social order attests to the power exerted by poetry on the intellectual life of France well into the second half of the twentieth century. Such, however, is no longer the case today. There are only two well-known living French poets, Francis Ponge and Yves Bonnefoy. While reviews dedicated to original poetry do still exist, especially in the south of France where the poetic arm of the French Resistance was most active in the 1940s, poetry attracts many fewer readers--and fewer writers--than it did even fifty years ago.Such a radical change merits some reflection. What has happened to French poetry since the mid-twentieth century? In a sense, all good things must come to an end sometime, and a century and a half of inventiveness and poetic energy may simply have run its natural course. French publishing houses, well aware that prose sells better than verse, have done little to encourage young poets. However, certain trends in the subject matter and form of contemporary French poetry have probably contributed to the current lack of interest. Since the end of the Second World War, French poets have concerned themselves almost uniquely with everyday life--common objects, geographical locales, and ordinary people. This obsession with the ordinary has produced some excellent poetry, especially René Char's evocations of Provençal landscapes and Yves Bonnefoy's treatments of childhood. Yet, this concentration on everyday life has severed poetry from the traditional subjects that have sustained it ever since classical antiquity, such as the celebration of heroic figures and heroic deeds, philosophical and religious inquiry, love, loss, prophetic vision. This very narrow range of subject risks consigning poetry to the status of a minor art. At the turn of the twenty-first century, French poetry also finds itself at the end of a very long period of formal experimentation that began in the second half of the nineteenth century and which includes... (shrink)

The formulae advanced by Popper to calculate the degree of corroboration C of a scientific hypothesis are unsatisfactory in that the probability values required in the computation are often not available. An attempt is made to define a quantitative measure B* in the place of C in which only countable empirical values would be used. This condition is fulfilled in two basic formulae and eq. ), which could be applied to calculate the degree of corroboration. When m successful falsifications of (...) the hypothesis h appear after a sequence of n unsuccessful ones, the pragmatic degree of corroboration B* results from the difference between B and the analogue value of the falsification F* and eq. ). In the event that the hypothesis can be "rescued" through a correction, increased experimental effort must be made with the revision. This would be taken into account through the correction equation ). When the hypothesis cannot be corrected, however, it can no longer exceed the value of 1-F*, even after numerous verification experiments. In the process of deciding whether a hypothesis is "adequately" verified or falsified, a lower threshold ${\rm B}_{{\rm u}}$ und Bₒ must be selected. These values have to be chosen on an intuitive subjective basis. The same applies to the strength of unsuccessful falsifications . This evaluation is expressed by a multiplicative constant a̱ ) or an additive constant kₐ in eq. . Despite the subjectivity of the values a̱, kₐ necessary for the calculation of B*, and of the values ${\rm B}_{{\rm u}}$ , Bₒ for the decision to discontiue the examination of the hypothesis, I feel that amongst the scientists within a particular field of research, a consensus for these values should be possible. Through a quantitative determination of B* the procedure for testing a hypothesis, considered to be a closed loop process, becomes clearer. To estimate the values of B* could not only have an influence upon the decisions of the respective researchers or research groups examining a hypothesis, but also be of assistance in decisions regarding research grants when financial resources are limited. (shrink)

When The Sound of One Hand Clapping came out in Japan in 1916 it caused a scandal. Zen was a secretive practice, its wisdom relayed from master to novice in strictest privacy. That a handbook existed recording not only the riddling koans that are central to Zen teaching but also detailing the answers to them seemed to mark Zen as rote, not revelatory. For all that, The Sound of One Hand Clapping opens the door to Zen like no other book. (...) Including koans that go back to the master who first brought the koanteaching method from Japan to China in the eighteenth century, this book offers, in the words of the translator, editor, and Zen initiate Yoel Hoffmann, "the clearest, most detailed, and most correct picture of Zen" that can be found. What we have here is an extraordinary introduction to Zen thought as lived thought, a treasury of problems, paradoxes, and performance that will appeal to artists, writers, and philosophers as well as Buddhists and students of religion. (shrink)

Since Alasdair MacIntyre’s landmark book After Virtue, there has been renewed interest in the role of the virtues in the moral life and attention paid to reappropriating the Aristotelian notion of "practice." Recent reappropriations of the virtues and virtue theory in medical ethics have contributed to conceiving more adequately the nature of good medicine. I wish to explore some of these insights and the special relevance the notion of practice has in an account of good medicine. Yet, I also want (...) to suggest that much remains to be done. This renewed attention to the virtues needs to be supplemented by a similar reappropriation and transposition of the notion of nature in order to navigate successfully the Dardanelles of an ahistorical essentialism and the Bosphorus of a historical relativism. (shrink)

The article is devoted to the work of Russian philosopher and cultural researcher Helen Petrovsky. The focus of the article is her original way of working, which consists in expanding the possibilities of philosophical analysis through reference to the practice of contemporary arts. Where art reveals its technique, Helen Petrovsky sees an opportunity to find a mechanism corresponding to this method in the sphere of thinking, a version of the Kantian Witz. The example of Helen Petrovsky's analysis of painting and (...) photography shows that her attention is focused on signs-affects, stains, traces, imprints of the external (nature or society), which are in conflict with human abilities of perception and understanding. Here the side of the image that remains outside the representation manifests itself. Turning to Lacoue-Labarthe's mimetology and Mondzain's interpretation of the icon allows us to see more clearly the Russian scholar's original way of working. Her critical gaze reanimates the "logic of the tragic" (Lacoue-Labarthe) as the culturally displaced basis of cognition (Oedipus' line) and judgment (Antigone's line). The collective affectivity and modern technologies with which Helen Petrovsky works allow us today to see Greek tragedy not so much as a cultural value, but as an alternative practice of thinking immanent to the problems of contemporary society. (shrink)

José Seoane centers his commentary on my critique of the standard formal analysis of proof as an elucidation of the informal notion of proof, and I basically agree with his considerations throughout the paper. In my response I argue that the notion of formal proof is fundamentally an analysis of the notion of logical consequence, rather than an elucidation of the informal notion of proof. O comentário de José Seoane está centrado na crítica da análise formal de prova como elucidação (...) da noção informal de prova, e estou basicamente de acordo com suas considerações. Em minha réplica argumento que a noção de prova formal é fundamentalmente uma análise da noção de conseqüência lógica ao invés de uma elucidação da noção informal de prova. (shrink)