Troubling Reason: Notes from Underground Revisited -- Love, Attention and Teaching: The Brothers Karamazov -- Passion as a Quality of Education: The Death of Ivan Ilyich -- Education, Rationality and the Meaning of Life: Tolstoy's Confession -- Pedagogy of the Gaze: An Educational Reading of Lolita -- Education Arrayed in Time: Nabokov and the Problem of Time and Space -- Conclusion: Literature, Philosophy and Education.

Aristotle claims that narrative can depict virtue and vice in particular cases, and that literature's moral meanings are not subject to philosophical paraphrase. He distrusts generalization in ethics, asserting that valid judgments rest on the perception of particulars. But this position is itself an unprovable generalization. If philosophy cannot prove the superiority of narrative over moral theory, perhaps literature can show it. In "Lolita", Nabokov reveals the moral hazards of theory while depicting one man's profound evil. Thus "Lolita" is (...) an illuminating example of pure Aristotelian fiction that serves a moral function without recourse to theory. (shrink)

Questions about the status of literary truth are as old as literary criticism, but they have become both more intricate and more compelling as literature has grown progressively more self-conscious and labyrinthian in its dealings with "reality." One might perhaps read The Iliad or even David Copperfield without raising such issues. But authors like Gide , Nabokov, Borges, and Robbe-Grillet seem continually to remind their readers of the complex nature of literary truth. How, for instance, are we to deal (...) with a passage like the following from William Demby's novel The Catacombs:"When I began this novel, I secretly decided that, though I would exercise a strict selection of the facts to write down, be they 'fictional' facts or 'true' facts taken from newspapers or directly observed events in my own life, once I had written something down I would neither edit not censor it ."1What does this sentence mean? When an apparently fictional narrator distinguishes between "fictional" and "true" facts, what is the status of the word "true"? It clearly does not mean the same as "fictional," for he opposes it to that term. Yet it cannot mean "true" in the sense that historians would use, for he calls what he is writing a novel, and even if he quotes accurately from newspapers, the events of a narrator's life are not "historically" true. · 1. William Demby, The Catacombs , p.93. Peter J. Rabinowitz, assistant professor at Kirkland College, is currently working on articles on Raymond Chandler, Faulkner, and Dostoyevsky and is, as well, a music critic for the Syracuse Guide. He wrote his doctoral dissertation in comparative literature on the philosophical implications of Nabokov's use of humor and terror. "Truth in Fiction" is the first article he has had published in a scholarly journal. (shrink)

To be sure, I agree that Nabokov creates a "sense of dizzying complexity," but I don't see how Dowling accounts for it at all. First of all, the passage he cites from Pnin is not an instance of the Liar's Paradox. The Liar's Paradox occurs when a single person claims that he or she always lies—for in that case, there is no logically consistent way to call the claim either true or false. In Pnin, however, we have something quite (...) different: a person, whom we suspect of often filtering the truth to serve his own ends, claims that someone else has called him a liar. That's confusing, perhaps, but not logically inconsistent; for instance, it would be logically inconsistent to say that Pnin is wrong, or is at least exaggerating, when he says that you shouldn't believe anything that the narrator says. Indeed, Pnin is wrong, and the careful reader can sort out the narrator's claims with a fair degree of accuracy, at least on the second reading. The odd sensation that Pnin inspires comes not because there's no logically consistent way to determine the truth or falsity if the narrative but rather because we can figure out when and how the narrator has slanted his statements only once we have finished the book, for only the last chapter gives us the evidence we need to interpret the earlier chapters properly. Peter J. Rabinowitz, assistant professor of comparative literature at Hamilton College, is the author of articles on Raymond Chandler, Faulkner and Dostoyevsky, and literary borrowing and is, as well, a music critic for Fanfare. (shrink)

Comment entendre le projet d'une écologie des images? Lorsque Susan Sontag l'ébauche pour la première fois à la fin de son ouvrage de 1977 sur la photographie, il résonne comme une exhortation à la vigilance face au débordement d'images qui menace d'engloutir notre capacité de voir. Plus récemment, derrière ce souci d'une économie de l'attention, une autre inquiétude a percé, concernant cette fois les retombées environnementales de la circulation et du stockage des images numériques. Cet essai tente d'explorer une troisième (...) voie : sous l'immédiateté du visible, il s'agit de laisser affleurer les temporalités dissonantes et les vitesses contrastées qui font la tension, le ton des images dans leur venue à l'apparaître. Non seulement celles qui furent faites de la main de l'homme, mais aussi toutes les autres, depuis les infinies variations mimétiques du règne animal jusqu'aux vues produites par les machines ou le divin. Le chemin parcouru conduit de l'histoire de l'ombre (elle commence avec Pline) jusqu'à ce que Bataille aurait pu appeler une iconomie à la mesure de l'univers. En cours de route, on s'arrête sur l'iconogenèse selon Simondon, la mimétologie de Caillois, les papillons de Nabokov, le ralenti d'Epstein, une gravure de Hogarth et le développement de la photographie aérienne."--Page 4 of cover. (shrink)

The annual Kronos Philosophical Journal was established in Warsaw in 2012. The papers presented in the annual might be of interest to the readers from outside Poland, allowing them to familiarize themselves with the dynamic thought of contemporary Polish authors, as well as entirely new topics, rarely discussed by English speaking authors. Volume V/2016 comprises articles problematizing Russian phlosophy and literature as well as Ancient Greek philosophy and culture.

Can there be rules of language which serve both to determine meaning and to guide speakers in ordinary linguistic usage, i.e., in the production of speech acts? We argue that the answer is no. We take the guiding function of rules to be the function of serving as reasons for actions, and the question of guidance is then considered within the framework of practical reasoning. It turns out that those rules that can serve as reasons for linguistic utterances cannot be (...) considered as normative or meaning determining. Acceptance of such a rule is simply equivalent to a belief about meaning, and does not even presuppose that meaning is determined by rules. Rules that can determine meaning, on the other hand, i.e., rules that can be regarded as constitutive of meaning, are not capable of guiding speakers in the ordinary performance of speech acts. (shrink)

In this paper we argue that awareness comes in degrees, and we propose a novel multi-factor account that spans both subjective experiences and perceptual representations. At the subjective level, we argue that conscious experiences can be degraded by being fragmented, less salient, too generic, or flash-like. At the representational level, we identify corresponding features of perceptual representations—their availability for working memory, intensity, precision, and stability—and argue that the mechanisms that affect these features are what ultimately modulate the degree of awareness. (...) We conclude the paper by demonstrating why the original interpretations of certain empirical findings that apparently pose problems for our account are, in fact, flawed. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

This book is available either individually, or as part of the specially-priced Arguments of the Philosphers Collection.

This paper details the ontological and epistemic character of activties that occur in mechanisms. It explains why they are sufficient to handle the problems of causation.

Formal dialogue games have been studied in philosophy since at least the time of Aristotle. Recently they have been applied in various contexts in computer science and artificial intelligence, particularly as the basis for interaction between autonomous software agents. We review these applications and discuss the many open research questions and challenges at this exciting interface between philosophy and computer science.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 31.1 (2007) 189-196MuseSearchJournalsThis JournalContents[Access article in PDF]Fiction and Theory of Mind: An ExchangeLisa Zunshine University of KentuckyBrian Boyd's review of my new book, Why We Read Fiction: Theory of Mind and the Novel (Ohio State University Press, 2006) engages a large variety of issues.1 I would like to address an important question about the integration of scientific methodology with literary analysis suggested by Boyd's discussion.2 As (...) I argue below, two different perspectives of this integration may mark two different—indeed, incompatible—ways of formulating the disciplinary goals and philosophy of the new field of cognitive literary theory.Why We Read Fiction makes a case for admitting the recent findings of cognitive psychologists into literary studies by showing how their research into the ability to explain behavior in terms of the underlying states of mind can furnish us with a series of surprising insights into our interaction with literary texts. Using as my case studies novels ranging from Richardson's Clarissa, Dostoyevsky's Crime and Punishment, and Austen's Pride and Prejudice to Woolf's Mrs. Dalloway, Nabokov's Lolita, and Hammett's The Maltese Falcon, I advance and explore a series of hypotheses about cognitive cravings that are satisfied—and created!—when we read fiction.Although my study draws on the already well-established as well as forthcoming work of numerous cognitive scientists (including Simon Baron-Cohen, Clark H. Barrett, Richard Byrne and Andrew Whiten, Leda Cosmides and John Tooby, Christopher Frith, Uta Frith, Paul Bloom, Susan Carey and Elizabeth Spelke, Peter Carruthers, Andy Clark, Antonio Damasio, Daniel Dennett, Alison Gopnik, Francesca Happe, Paul [End Page 189] Harris, Lawrence Hirschfeld, Stanley Klein, Alan Leslie, Andrew Meltzoff, Robert Mitchell, Keith Oatley, Gloria Origgi, Oliver Sacks, Dan Sperber, James Stiller, and Endel Tulving), it makes a point of being accessible to non-specialist readers. Cognitive science can be incredibly complicated and so can literary criticism, but I wanted to write a book on cognitive literary theory that does not scare anybody away with unnecessary jargon, knotty sentences, and overlong quotations. (Ironically, I must have succeeded too well in making my book reader-friendly and tucking my references in the endnotes since Boyd observes that I rely on only "a few findings" of cognitive scientists in my discussion.)The book consists of three parts. The first part, "Attributing Minds," introduces the first key theoretical concept of this book: mind-reading, also known as Theory of Mind. Drawing on the work of Simon Baron-Cohen (Mindblindness: An Essay on Autism and Theory of Mind), I suggest that fiction engages, teases, and pushes to its tentative limits our mind-reading capacity. Building on the recent research of Robin Dunbar and his colleagues, I then consider one particular aspect of Woolf's prose as an example of spectacular literary experimentation with our Theory of Mind. Finally, I turn to Steven Pinker's controversial analysis of Woolf in The Blank Slate to discuss the possibilities of a more profitable dialogue between cognitive science and literary studies.Of particular importance to this part of my argument is my belief that fictional narratives endlessly experiment with rather than automatically execute our evolved cognitive adaptations. When cognitive scientists succeed in isolating a certain regularity of our information-processing—for example, a constraint on the number of mutually reflecting minds that we can process with ease—we can take that constraint and see how it plays itself out in a fictional narrative. What we discover is that where there is a cognitive constraint, there is a "guarantee" of sorts that writers will intuitively experiment in the direction of challenging that constraint, probing and poking it and getting around it. The exact forms of such probing and poking will depend on specific cultural circumstances, including the mind-reading profiles of individual writers and their readers. The cognitive "limits" thus present us with creative openings rather than with a promise of stagnation and endless replication of established forms. This realization marks the possibility of a genuine interaction between cognitive psychology and... (shrink)

In this comparative analysis of twelve focus groups conducted in Austria, France, and the Netherlands, we investigate how lay people come to terms with two biomedical technologies. Using the term ‘‘technopolitical culture,’’ we aim to show that the ways in which technosciences are interwoven with a specific society frame how citizens build their individual and collective positions toward them. We investigate how the focus group participants conceptualized organ transplantation and genetic testing, their perceptions of individual agency in relation to the (...) two technologies and to more collective forms of acting and governing, and also their understanding of the two technologies’ relationship to broader societal value systems. Against the background of the sustained political effort to build common European values, we suggest that more fine-grained attention toward the culturally embedded differences in coming to terms with biomedical technologies is needed. (shrink)

In this important new book in the IPPP series, a group of leading thinkers in psychiatry, psychology, and philosophy offer alternative perspectives that address both the scientific and clinical aspects of psychiatric validation, emphasizing throughout their philosophical and historical considerations.

Dynamical Grammar explores the consequences for language acquisition, language evolution, and linguistic theory of taking the underlying architecture of the language faculty to be that of a complex adaptive dynamical system. It contains the first results of a new and complex model of language acquisition which the authors have developed to measure how far language input is reflected in language output and thereby get a better idea of just how far the human language faculty is hard-wired.

This book argues that Nietzsche bases his affirmative morality on the model of individual responsiveness to otherness which he takes from the mythology of Dionysus. The subject is not free to choose to avoid such responding to the demands of the other. Nietzsche finds that the basic mode of responding is pleasure. This feeling, as a basis for morality, underlies the morality which is true to the earth and the major concepts of "will to power", "eternal return", and "amor fati". (...) The priority of otherness makes all thought ethical and not only aesthetic. The basis of all meanings combines the fundamental impulse of responding outwards with an immediate complement in the individual interpretation-world. This is specifically ethical because the recognition of our own historical specificity arises as a result of the refusal of others to become mere differences within our notion of the Same, and through their demand that we "become who we are" in the recognition of their separate existence. (shrink)

Peter Frankental, Head of Business Networks, Amnesty International, explores the role of The UN Universal Declaration of Human Rights as a corporate code of conduct. Frankental observes a changing business context, which overall increases the risk to business of dealing with other parties, including countries, subcontractors, joint venture partners and their stockholders. The paper proceeds to examine the barriers to integration of human rights, and identifies dilemmas that firms need to resolve. While in the author’s view ethical behaviour does (...) not confer competitive advantages in the short run, companies that base their codes of conduct on the UN Universal Declaration of Human Rights are likely to find themselves in the stronger position to protect their reputation, brands and assets in the longer term. (shrink)

An intellectual biography of Max Weber which uses his most famous work, The Protestant Ethic and the Spirit of Capitalism as its starting point, with wider reference to the social, political, and religious thought of the time.

The principle of semantic compositionality, as Jerry Fodor and Ernie Lepore have emphasized, imposes constraints on theories of meaning that it is hard to meet with psychological or epistemic accounts. Here, I argue that this general tendency is exemplified in Michael Dummett's account of meaning. On that account, the so-called manifestability requirement has the effect that the speaker who understands a sentence s must be able to tell whether or not s satisfies central semantic conditions. This requirement is not met (...) by truth-conditional accounts of meaning. On Dummett's view, it is met by a proof conditional account: understanding amounts to knowledge of what counts as a proof of a sentence. A speaker is supposed always to be capable of deciding whether or not a given object is a proof of a given sentence she understands. This requirement comes into conflict with compositionality. If meaning is compositionally determined, then all you need for understanding a sentence is what you get from combining your understanding of the parts according to the mode of composition. But that knowledge is not always sufficient for recognizing any proof at all of a given sentence. Dummett's proof-theoretic argument to the contrary is mistaken. (shrink)

An ethnographic or ethnomethodological turn in the history of the human sciences has been a Holy Grail at least since Cooter and Pumphrey called for it in 1994, but it has been little realized in practice. This article sketches out some ways to explore the reception, use and/or co-production of scientific knowledge using material generated by mediators such as mass-market paperbacks, radio, TV and especially newspapers. It then presents some preliminary findings, tracing the prevalence and, to a lesser extent, use (...) of selected social-science concepts in the USA and the UK from the 1930s to the 1970s. (shrink)

Vor dem Hintergrund der Tatsache, dass innovatives Handeln in der Gegenwart eine große Wertschätzung erfährt, unternimmt das Buch eine Untersuchung des Begriffs, des Ursprungs, des Werts und der Spielarten der Kreativität. Kreativität ist immer ein bewusstes Menschenwerk, das überraschende Neuigkeiten hervorbringt; dabei können solche Neuigkeiten durchaus unterschiedlich bewertet werden und auch ihre Schattenseiten haben. Zur Anwendung kommt die Lust auf Neues in allen Bereichen des Lebens - in den Künsten und in den Wissenschaften, im Privatleben und in der Politik, bei (...) Beziehungen zu anderen Personen und bei der Beziehung zu uns selbst. Das Buch geht detailliert auf die multiplen Facetten des Phänomens ein. Ob auch künstliche Intelligenzen zu kreativen Leistungen in der Lage sind, ist heute eine wichtige und stark umstrittene Frage, deren Antwort nicht zuletzt vom Begriff der Kreativität abhängen wird. Als besonders förderlich für die Ausbildung und Ausübung einer Lust auf Neues haben sich das Nichtstun, die Langeweile und Tagträumereien erwiesen. Der Autor ​Peter Rinderle ist Philosoph mit den Schwerpunkten Ethik, Ästhetik und politische Theorie. Er arbeitet freiberuflich als Autor, Dozent und Lektor. (shrink)

Peter Boettke's Why Perestroika Failed offers an overly mechanistic explanation for the collapse of the Soviet economy, derived from Mises's theory of the economic impossibility of socialism. Arguing that the economic system was doomed to fail does not explain why it fell precisely when it did. Thus, Boettke underestimates the extent to which elements of the Communist nomenklatura themselves came to realize that their interests could be served by ditching the command economy. Such an emphasis on the role of (...) human agents is surely compatible with a Hayekian approach. (shrink)

The majority of formal accounts attribute to Stoic logicians the classical truth-functional understanding of the material conditional and exclusive disjunction.These interpretations were disputed,...

Shepard promotes the important view that evolution constructs cognitive mechanisms that work with internalized aspects of the structure of their environment. But what can this internalization mean? We contrast three views: Shepard's mirrors reflecting the world, Brunswik's lens inferring the world, and Simon 's scissors exploiting the world. We argue that Simon 's scissors metaphor is more appropriate for higher-order cognitive mechanisms and ask how far it can also be applied to perceptual tasks. [Barlow; Kubovy & Epstein; Shepard].