This is a collection of chapters by some of the most influential memory researchers.

In Alabaster v. Barclays Bank plc and Secretary of State for Social Security (No. 2: [2005] E.W.C.A Civ. 508, [2005] I.R.L.R. 576.) Michelle Alabaster won a grand total of £204.53 (plus £65.86 interest) after eight years of litigation, which included two visits to the Court of Appeal and one to the European Court of Justice. This marathon resulted from the sex discrimination which Alabaster had alleged in relation to the calculation of her Statutory Maternity Pay (S.M.P.) whilst she was pregnant (...) 10 years earlier. The technicalities of the statutory schemes involved should not be allowed to disguise the important principle which finally emerges in the Court of Appeal and which underlines one of the longstanding criticisms of the equality legislation, namely the requirement that a woman must compare herself with a man in order to establish unlawful sex discrimination. (shrink)

The thesis of this paper is that games and sports that harm nonhuman animals are unethical because they exceed the permissible limits of optional harm and the more harm the game imposes on the nonhuman animal(s) it objectifies the worse the ethical transgression. Factors in the analysis include the nature of games and sports, the ontology of beings (i.e., human and nonhuman animals) in games, the mitigating power of informed consent among human game-players and its absence among nonhuman game players, (...) harm, and intent. (shrink)

In this paper I establish a normative limit of spectator interaction. I argue that attempts by non-participants (e.g. spectators) to affect the outcome of a contest, whether intended or merely foreseeable, are unsporting and ought to be discouraged because they undermine fairness, which is a fundamental premise of ideal competition. Because this is at odds with the participatory ethos of contemporary sports fanaticism (e.g. ?12th man? campaigns, visual distractions by spectators, etcetera) I anticipate several potential objections. I refute concerns that (...) my thesis is empirically dubious; that it is impractical; that it is subordinate to financial considerations; that it is nullified by participant acquiescence; and that it is subordinate to spectator interests. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 181 reason that it provides the best arguments available to date against nuclear deterrence, but ultimately the arguments fail because the author takes as an apodictic premise what is actually a prudential judgment that no nuclear weapons could ever be used in a moral and ethical way. Professor Kenny is not only an Absolutist, but also a Determinist. The present reviewers are neither. University of Illinois-Urbana Champaign-Urbana, (...) Illinois Public Affairs Officer ROBERT BARRY, O.P. MATTHEW M. MURPHY United States At·ms Control and Disarmament Agency Art and Beauty in the Middle Ages. By UMBERTO Eco. Translated by Hugh Bredin. New Haven and London: Yale University Press, 1986. Pp. 131. $12.95. This is not a new work. As Umberto Eco himself states in the Preface of this book, the text was written in 1958 and published in 1959 as a single chapter of a four volume handbook on the history of aesthetics, written by various authors (Momenti e problemi di storia dell' estetica, Milano, Marzorati, 1959, vol. 1: 'Dall'antichita classica al barocco, pp. 115-230). No doubt it was due to the recent popularity in Europe and America of Mr. Eco's novel, The Name of the Rose (which subsequently inspired the film of the same title) that Yale University Press saw fit to translate and reissue this seminal work of the author. He wrote it when he was 26 years old and serving in the Italian army. Hugh Bredin, a senior lecturer in scholastic philosophy at Queen's University, Belfast, has simplified in the translation what the author claims was the "tortured syntax" of his impressionable youth. Nevertheless, one suspects that the style and context of this slim volume will appeal primarily to philosophers and not art historians, despite its ubiquitous presence in art bookstores and museum giftshops. The scope of Mr. Eco's work enables the reader to gain an overview of aesthetic problems which developed in Europe in the period between the sixth to the :fifteenth centuries, when the classical tradition inherited by the medieval world no longer provided adequate solutions. A thousand years of artistic and philosophical history are barely penetrated in so few pages, but Mr. Eco forthrightly proceeds to catalogue ideas and thinkers in chapters devoted to such topics as Transcendental Beauty, Symbol and Allegory, and the Aesthetics of Proportion and Light. As 18~ BOOK REVIEWS was evident in The Name of the Rose, the author has an encyclopedic knowledge of both classical and medieval sources (he gently chides Maritain for his ignorance of one of Bonaventure's definitions of beauty, p. 24). As professor of semiotics his understanding of words and images is impressive (he takes a whole page to explain the visual applications of Vitruvius's use of the word euritmia, pp. 65-66). But after repeated eitings of relevant quotations from various medieval works-some in outright conflict with one another-the reader has no satisfying sense of what was the "medieval " view of art and beauty. Rather a mosaic of interesting and diverse facts emerges in the thematic structure of the book which cuts across chronological, geographical, and cultural boundaries. Thus, for instance, one learns in the chapter on the Aesthetics of Light that St. Augustine preferred equilateral to scalene triangles, Hugh of St. Victor considered green to be the most beautiful of colors, the Limbourg brothers in painting miniatures had no use for sfiirnatura just as Chretien de Troyes had no use for it in literature, and the Christian image of God as Light traced its pedigree to the Semitic Baal and the Egyptian Ra with heavy doses of Plato and Arab pantheism thrown in as contributing influences. This dizzying effect of so much intelligent trivia, forcibly pieced together in an effort to arrive at a persuasive conclusion, backfires and ultimately works ag:iinst Art and Beaiity in the Middle Ages in much the same way that the plot in The Name of the Rose suffered from a surfeit of scholastic argumentation. Mr. Eco, in an attempt to bedazzle his readers with facts, merely blinds them to the point. Other authors have written about art in the Middle Ages, and they were successful... (shrink)

This book is a collection of essays in honor of Radoslav A. Tsanoff, Chairman of the Department of Philosophy at Rice University for forty years. Besides a tribute to Tsanoff written by J. S. Fulton, there are ten essays written by distinguished philosophers, each considering a topic in his field of interest. Virgil Aldrich discusses the importance of language in an essay entitled "Self-Consciousness." An examination of the new in art and an attempt to explicate its value and rationale is (...) presented by Van Meter Ames; illustrative material is drawn from such sources as contemporary film, pop art and chance music. In "Social Science and Social Norms" Clifford Barrett discusses the relevance of facts and norms in systematic considerations of social scientists. C. P. Snow's concept of two cultures is examined by A. Cornelius Benjamin in "Philosophy and the Cultures." Other essays presented are "Philosophy and Common Sense" by George Boas, "Conscience and Conscientiousness" by A. Campbell Garnett, "Criteria for Ideas of God" by C. Hartshorne, and "Sovereignty and the Idea of Republic" by C. W. Hendel. Charles Morris examines the common themes of the pragmatic movement, discussing such fields as epistemology, axiology and cosmology, and such philosophers as Peirce, Dewey, Mead and Lewis. In the concluding essay G. R. Morrow discusses Plato's views about a God and the many gods of the Greek pantheon. This book is a loose collection of papers, lacking any single theme or determinate relation between the essays presented; each essay, however, is competently handled and is interesting in its own right.—E. M. (shrink)

This book is an appealing, worthwhile, even illustrated study of the life and thought of an idealistic philosopher who has not been given the attention his originality deserves. John Elof Boodin belongs to what we may call the second generation of American idealists. Most of them studied under thinkers who represented the first real surge of idealistic thought on this continent. That group includes: G. S. Morris, B.P. Bowne, G. H. Howison, Josiah Royce, J. E. Creighton, and Mary W. (...) Calkins. Boodin’s generation includes J. A. Leighton, W. E. Hocking, Elijah Jordan, E. S. Brightman and Brand Blanshard. Only Jordan and Leighton are less well-know than Boodin. (shrink)

John McCormick's ‘democratic’ interpretation of Machiavelli depends on the view that Machiavelli unequivocally endorses the people's moral and political wisdom over that of princes and the elite alike. Leo Strauss's interpretation of Machiavelli offers a means for appraising the anthropological basis of this reading, which is yet to appear in the scholarship. Strauss argues that Machiavelli reduces human nature to the mere desire to stay alive. The people will therefore choose whatever political option stands to offer them the best chance (...) for survival, and, this being equivocal to them, they are just as likely to opt for democracy as they are to raise up a tyrant. From this anthropology also emerges a strand of intellectual elitism in Machiavelli, which is incompatible with what McCormick considers to be Machiavelli's staunch anti-elitism. This article therefore uses Strauss to challenge McCormick's reading of Machiavelli as a populist, arguing that McCormick exaggerates Machiavelli's populist partisanship. (shrink)