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When the Bloomsbury critics, Roger Fry and Clive Bell, introduced an aesthetically-conservative English public to recent Parisian avant-garde painting, they explained its disconcerting imagery by way of a late-nineteenth-century metaphysical tradition which had long intrigued musicians and Symbolist writers on the European continent. The Post-Impressionist aesthetic they devised advocated a direct response to the formal ingenuity of the work of art without recourse to prior knowledge and it emphasized the significance of visionary genius albeit to the detriment of narrative (...) acuity and technical accomplishment, values hitherto upheld by the Edwardian art Establishment. The provocation was calculated, the author suggests, and its domestic ramifications were predictable: the reaction of an Anglo-conformist public in New York, on the other hand, was anything but. Recreating an Anglo-American dialogue inspired by Fry and Bell, and framed within a period encompassing Fry's Manet and the Post-Impressionists exhibition in 1910 and Alfred Barr Jr's Cubism and Abstract Art exhibition in 1936, the author demonstrates how key components of Bloomsbury's aesthetic bypassed a pre-existent modernist practice in New York and were taken up instead by an urban intelligentsia which adapted them to the requirements of an increasingly professionalised institutional practice during the 1920s. (shrink)

Background: International developments suggest that providing clinical ethics services to help clinicians negotiate ethical issues that arise in clinical practice is beneficial and reflects best practice in promoting high ethical standards and patient-centered care. The aim of this study was to explore the needs and experiences of clinical staff members to inform the development of future clinical ethics support. Methods: Health professionals at a large regional health service completed an online survey containing questions about the frequency of ethical and legal (...) issues encountered in clinical practice, the type of situations that gave rise to the ethical and/or legal uncertainty or concern, how clinicians currently address these issues, and what support would be welcome. Results: The survey was completed by 369 staff members, including 61% with more than 10 years in the profession and 51% in nursing/midwifery. Two-thirds (66%) indicated they often considered ethical implications of their clinical decisions, and half (49%) often considered the legal implications. More than half (58%) were often/occasionally concerned about the ethically right thing to do. Patient requests for borderline treatment (47%), staff disagreements about patient care (48%), and patients declining recommended treatment (54%) were the most frequent reasons given for ethical or legal uncertainty. Sixty-nine percent of respondents indicated that the way their department addressed ethical issues could be improved and 85% agreed that there is a need for more discussion on ethical issues. The majority (82%) of respondents had encountered ethically challenging clinical situations where additional support would have helped. Common approaches to issues were discussion with colleagues/supervisor (91.1%), discussion at handover/group forums (50.8%), and consultation with guidelines/protocols (60.9%). Conclusions: A majority of clinical staff members surveyed have encountered ethically/legally challenging cases daily for which they have often sought additional advice. This study indicates that many clinical staff members would welcome some form of additional clinical ethics support including advice and education. (shrink)

Art and Form: From Roger Fry to Global ModernismROSESAMPenn State University Press. 2019. pp. 224. £71.95.

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 462-464 [Access article in PDF] The Phantom Table: Woolf, Fry, Russell and the Epistemology of Modernism,by Ann Banfield; 452 pp. Cambridge: Cambridge University Press, 2000, $55.00. We have grown accustomed to reading Woolf philosophically. Lucio Ruotolo, Mark Hussey, Gillian Beer, and Pamela Caughie are just a few notable scholars who have used philosophical texts and themes to shed light on Woolf's novels and life, (...) but Ann Banfield's The Phantom Table marks the beginning of a new approach. Contrary to the poststructuralist readings of the last two decades, Banfield treats Woolf as a "philosophical realist" (p. 294), an interpretation that presupposes that "Truth, although logically constructed, remains nonetheless objective, a discovery, as opposed to a creation, of the mind" (p. 94). To justify this approach, Banfield makes a case for privileging Bertrand Russell's "symbolic logic" (p. 42) as "a key if limited influence on Woolf's thinking about language" (pp. 42-43). Simply appropriating elements of Russell's rigorous epistemology, however, is not enough to determine Woolf's thinking, for as Banfield claims: "Woolf's philosophically inflected aesthetic is not one Russell would have foreseen" (p. 54). Roger Fry's astute reflections on Post-Impressionism aesthetics complement Russell's philosophical approach and thereby provide Woolf with a framework for the "novel's realism [which] must relate two competing realities, the private world and the public persona" (p. 324). Through an extraordinarily insightful analysis of the work of Russell and Fry, Banfield offers an intelligent interdisciplinary interpretation of the rigorous epistemological presuppositions at the base of Woolf's aesthetic.Central to Banfield's project is the conviction that reality is mind-independent (p. 101). On this view, "modern fiction ultimately aims to describe a reality beyond privacy" (p. 298), but to understand how we can access that reality we must carefully distinguish sensations, sense-data, and sensibilia. According to Russell, sensations are the private experiences or awareness of a subject, whereas a sense-datum is "that external object of which in sensation the subject is aware" (p. 70). Sensibilia, the lynchpin of Russell's and Banfield's theory, have the same ontological status as sense-data, though they are not necessarily data to a specific mind. Banfield cleverly articulates the ontological priority of sensibilia by reversing Berkeley's famous dictum: "What brings about" sensibilia's "actualization is the perspective's occupation by a subject and the corresponding interception of sensibilia by sense-organs located in time and space" (pp. 74-75). Sensibilia need not be perceived to exist, which places the perceiving subject at the mercy of sensibilia, rather than making sensibilia ontologically dependent upon the perceiving mind.Given the primacy of sensibilia, the epistemological "goal is now to leave one's perspective and imaginatively project oneself into other perspectives, even the possible ones inhumanly occupied, to experience the world as it would be without the thinker" (p. 213). According to this system, the perceiving [End Page 462] subject and the modernist artist become irrelevant because they can inhibit our experience and/or understanding of sensibilia. Eliminating the subject and effacing the author, therefore, become necessary so that "artistic creativity" (p. 173) is given free flow, which means that for art to achieve its goal of seeing "the world 'as far as possible as it is in itself, and not merely through the distorting medium of personal desire'" (p. 382), the death of the subject is mandatory—though this death of the subject differs considerably from Roland Barthes's, Michel Foucault's, and Paul de Man's. Once the subject is eliminated, which occurs in Woolf's novels according to Banfield, the novelist will be able to create a "method of multiple perspectives" which functions as a "route to wider knowledge" (p. 312) of sensibilia.In the last part of the book, Banfield examines how "Fry's aesthetic derives from analytic philosophy" (p. 248) and then argues that Woolf incorporates much of this aesthetic into her work. Fry makes a clear distinction between Impressionism and Post-Impressionism. Impressionism represents the "totality... (shrink)

This study is a major reappraisal of Virginia Woolf's relationship to Bloomsbury and the aesthetic and philosophical developments of her time. Through extensive archival research, Ann Banfield offers the first full analysis of Woolf's engagement with the theories of a remarkable trinity of thinkers: G. E. Moore, Bertrand Russell, and Roger Fry.

In lieu of an abstract, here is a brief excerpt of the content:88 Reviews EPISTEMOLOGY OFMODERNISM WILLIAM R. EVERDELL History/ St. Ann'sSchool Brooklyn, NY 11201, USA [email protected] Ann Banfield. The Phantom Table:Woolf,Fry,Russelland the Epistemology of Modernism. Cambridge and New York: Cambridge U.P., 2000. £35.00; US$49.95. In Virginia Woolf's difficult masterpiece, The Waves(1931),each of several separate interior monologues-"streams of consciousness" in the American critical idiom-is separated from the next by an interpolated "Interlude". The interior monologues are assigned co different characters, bur (...) the Interludes are rendered from no perspectiveat all, verymuch like the "Time Passes"chapter of Woolf's earlier and better known novel, Tothe Lighthouse (1927).The passive voice and the demonstrative and indefinite pronotms are essential, removing from the scene not only the characters' points of view, but the author's as well. Numbered among the consequences of the new twentieth-century technique of interior monologue, the Interludes can be accepted today as one more trick of literary "Modernism", but for Woolf it was new, and the task of preventing any of her Interludes from becoming just another report from the rypical "omniscient narrator" of Victorian fiction was one of the most demanding she ever set herself as a writer. Like her friend the Post-Impressionist critic Roger Fry, she wanted to analyze the world outside the self into its smallest sensible elements, then show human selvesasthey formed by accumulating the experience of these myriad, random, discontinuous components, and finally to recombine these components in their two kinds, selvesand sense-able things, into a meaningful whole-a work of art. Rejecting both the idealism of Bradley and the British philosophical generation of the 1890sand the naive positivist materialism coming out of the 1850s, Bertrand Russell eventually settled on an ontology most philosophers call "realist " in that it rejected the view that the world accessible to the senses was no more than a mental construct and considered it naive to assign the origin of subjectivity to matter. The material world was, Russell thought, actually external -"out there". He did think, however,that all we knew of the external world was what wassensed by the sensesand pictured by the mind. He alsoconcluded (in essayslike "The Relation of Sense-data to Physics"written in 1910-17)d1at both that world and what we knew of it was presented in very small parts, and Reviews 89 analyzable down to them, or, in other words, that both ontology and epistemology were atomized. Each mind, with its senses, occupied, he thought, one of an infinite number of occupied and unoccupied "perspectives", each of which Lmiquely focused che "sensibilia"-whatever was perceived in che external world-like a Leibnizian monad. Machemacicallogic, on which Russell set che highest store, would be able, he thought, to bring together perspectives by providing a minimal secof cruchswhich, though abscracc,were objective in che sense chaccheywere noc private and could be agreed to by all. Something similar though rougher mighc be done for chesensibilia in cheworld "ouc chere" by che science of physics. Did Virginia Woolflearn from Bertrand Russell?To a latcer-dayacademic ic sounds too urrerly improbable, for che simple reason (obvious to academics) chat anyone who has made icto the upper levelsof English literature must have chosen cheseparticular heights to scale because the trail was so blessedlyfreeof chosenasry mathematical burrs and logical reazles,and the air so filledwith che pure chatter of French phenomenologisrs, that no hiker would ever have to struggle with analytical philosophy again. Lessmetaphorically, the separation of departments of literature from those of philosophy has come so close to divorce chat few in U.S. English Departments can make head or cail of che graduate thesis that one of Russell's philosophy students wrote on F.H. Bradley, and fewer still can trace the term "objective correlative" used by thac student (who was in fact T. S. Eliot) back to an early work of Husserl. Meanwhile, ic is taken for granted by those in Philosophy that there are no ideas worth discussing in Woolf, or, indeed, in any other novelise,greacthough she may be, Lmlessone is to descend from ontology and epistemology to the foothills of ethics and politics, or worse, aesthetics. (Among... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George Eliot, Jean-Auguste (...) Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

Visions and derisions of utopia -- Ernst Bloch and utopian critical theory -- Homo aestheticus -- Case study: Navajo design, culture and theology -- Archetypes, the unconscious and psychoanalysis -- Roger Fry and the language of form -- From Genesis to Job -- Homo absconditus.

This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers a uniquely (...) synthetic definition of art. It captures the artwork’s relations between form and content, art’s independent ontology and autonomy, art’s internal completeness, criticism, immunity to recruitment, the uniqueness of each medium, and musicality, as well as the logical-theoretical affiliation of art for art’s sake to epistemology, ethics and philosophy of language.<BR> Those are used by Michalle Gal to formulate a definition of art in terms of a theory of Deep Formalism, setting aestheticism, which aspires to preserve the artistic medium, as a critique of the current linguistic-conceptual aesthetics that developed after the linguistic turn of aesthetics. (shrink)

Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...) Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)

This is another volume in the continuing series published under the auspices of Tulane University. It contains eight articles. Ramona Cormier’s article "The Concept of Isolation in Contemporary Aesthetic Theory" uses the term isolation in accordance with Langer’s definition. In order to develop her point Cormier distinguishes between the historicity of an art work and the historiography of the work. On the basis of this she discusses briefly the attitudes of Jerome Schiller, Clive Bell, T. S. Eliot, Jerome Stolnitz, (...) class='Hi'>Roger Fry, George Dickie. Shannon DuBose remarks in "Poesis and Cosmos" that "... views advanced [on art] in The Republic loom larger than need be in discussion of Plato’s theory of art; they should be balanced with suggestions advanced in other dialogues, particularly The Timaeus." One cannot agree more with this need for balance. Professor Feibleman’s article "The Art of the Philosophy of Art" is not so much a discussion of the philosophy of art as it is a discussion of the artist, the role of art in society, the relation of art to other areas of a culture in which art specifically exists. John Glenn, Jr. has written on "Kierkegaard on the Unity of Comedy and Tragedy." I do not agree with all his interpretations of Kierkegaard but his article is interesting. Harold N. Lee in "Action, Perception and Art" rethinks a position he held in the original edition of his Perception and Aesthetic Value. He now holds that "... the two views of the nature of art can be shown to be essentially related and not only externally so...." Marian L. Paulson writes an article, "Structures in Art Media," where she suggests that perhaps the problem of structural relations among art media may find a solution if one takes account of the Jungian notion of the racial unconscious, especially in the resolution of the tensions between anima and animus and between the shadow and transcendence. The article "Truth in Art" by Louise N. Roberts discusses one of the many ways in which the expression "truth in art" may be considered. The author in this case shows how paintings may present a truth in a way quite different from verbal statements. The book concludes with John Sallis’ commentary on Nietzsche’s The Birth of Tragedy.—P. N. (shrink)

The purpose of this article is to report what can be learned about nurses’ ethical conflicts by the systematic analysis of methodologically similar studies. Five studies were identified and analysed for: (1) the character of ethical conflicts experienced; (2) similarities and differences in how the conflicts were experienced and how they were resolved; and (3) ethical conflict themes underlying four specialty areas of nursing practice (diabetes education, paediatric nurse practitioner, rehabilitation and nephrology). The predominant character of the ethical conflicts was (...) disagreement with the quality of medical care given to patients. A significant number of ethical conflicts were experienced as ‘moral distress’, the resolution of which was variable, depending on the specialty area of practice. Ethical conflict themes underlying the specialty areas included: differences in the definition of adequacy of care among professionals, the institution and society; differences in the philosophical orientations of nurses, physicians and other health professionals involved in patient care; a lack of respect for the knowledge and expertise of nurses in specialty practice; and difficulty in carrying out the nurse’s advocacy role for patients. (shrink)

The history of maternal-fetal therapy is a complex and compelling one. It can be argued that the science and ethics underpinning this field evolved together, with emerging technology spurring on th...

The purpose of this article is to describe the development of a model of moral distress in military nursing. The model evolved through an analysis of the moral distress and military nursing literature, and the analysis of interview data obtained from US Army Nurse Corps officers (n = 13). Stories of moral distress (n = 10) given by the interview participants identified the process of the moral distress experience among military nurses and the dimensions of the military nursing moral distress (...) phenomenon. Models of both the process of military nursing moral distress and the phenomenon itself are proposed. Recommendations are made for the use of the military nursing moral distress models in future research studies and in interventions to ameliorate the experience of moral distress in crisis military deployments. (shrink)

The development of nursing ethics as a field of inquiry has largely relied on theories of medical ethics that use autonomy, beneficence, and/or justice as foundational ethical principles. Such theories espouse a masculine approach to moral decision-making and ethical analysis. This paper challenges the presumption of medical ethics and its associated system of moral justification as an appropriate model for nursing ethics. It argues that the value foundations of nursing ethics are located within the existential phenomenon of human caring within (...) the nurse/patient relationship instead of in models of patient good or rights-based notions of autonomy as articulated in prominent theories of medical ethics. Models of caring are analyzed and a moral-point-of-view (MPV) theory with caring as a fundamental value is proposed for the development of a theory of nursing ethics. This type of theory is supportive to feminist medical ethics because it focuses on the subscription to, and not merely the acceptance of, a particular view of morality. (shrink)

This paper calls attention to a philosophical presupposition, coined here the continuity thesis which underlies and unites the different, often conflicting, hypotheses in the origin of life field. This presupposition, a necessary condition for any scientific investigation of the origin of life problem, has two components. First, it contends that there is no unbridgeable gap between inorganic matter and life. Second, it regards the emergence of life as a highly probable process. Examining several current origin-of-life theories. I indicate the implicit (...) or explicit role played by the continuity thesis in each of them. In addition, I identify the rivals of the thesis within the scientific community — the almost miracle camp. Though adopting the anti-vitalistic aspect of the continuity thesis, this camp regards the emergence of life as involving highly improbable events. Since it seems that the chemistry of the prebiotic stages and of molecular self-organization processes rules out the possibility that life is the result of a happy accident, I claim that the almost miracle view implies in fact, a creationist position. (shrink)

In this paper I explore the nature, varieties, causes and meanings of comebacks related to sport. I argue that comebacks have an axiological dimension, and that the best comebacks involve personal growth. I attempt to show that a major reason that comebacks connected to sport are often inspiring is that we are all in need of a comeback at some point in our lives. When improbable comebacks occur in the world of sport, they expand our sense of possibility.

Philosophers of science diverge on the question what drives the growth of scientific knowledge. Most of the twentieth century was dominated by the notion that theories propel that growth whereas experiments play secondary roles of operating within the theoretical framework or testing theoretical predictions. New experimentalism, a school of thought pioneered by Ian Hacking in the early 1980s, challenged this view by arguing that theory-free exploratory experimentation may in many cases effectively probe nature and potentially spawn higher evidence-based theories. Because (...) theories are often powerless to envisage workings of complex biological systems, theory-independent experimentation is common in the life sciences. Some such experiments are triggered by compelling observation, others are prompted by innovative techniques or instruments, whereas different investigations query big data to identify regularities and underlying organizing principles. A distinct fourth type of experiments is motivated by a major question. Here I describe two question-guided experimental discoveries in biochemistry: the cyclic adenosine monophosphate mediator of hormone action and the ubiquitin-mediated system of protein degradation. Lacking underlying theories, antecedent data bases, or new techniques, the sole guides of the two discoveries were respective substantial questions. Both research projects were similarly instigated by theory-free exploratory experimentation and continued in alternating phases of results-based interim working hypotheses, their examination by experiment, provisional hypotheses again, and so on. These two cases designate theory-free, question-guided, stepwise biochemical investigations as a distinct subtype of the new experimentalism mode of scientific enquiry. (shrink)

It is often supposed that in order to refute the view that laws of nature are necessary truths it is sufficient to appeal to Hume's argument from the conceivability of to the possibility of their being false. But while Hume's argument does present the necessitarian with insuperable difficulties it needs to be made clear just what these are. The mere appeal to Hume is quite insufficient for what he says can be interpreted in more than one way. And if it (...) constitutes an argument rather than a mere assertion Kneale has given reason to suppose that it is at least not obviously valid. The upshot of this article is that Hume's argument may be seen as a direct challenge to the notion that there could be propositions whose modal value is necessarily "opaque to the human intellect". (shrink)

Gottfried Wilhelm Leibniz (1646-1716) was one of the seventeenth century's most important thinkers. A philosopher, mathematician and scientist, his work is comparable in scope and importance only to that of Newton and Descartes. His work dominated German philosophy until Kant, and was revived in the early part of this century when his important work on logic was re-discovered. This four volume set contains 97 of the most important essays ever written about Leibniz's work. The selection has been made to bring (...) out the scope of Leibniz's work in all the areas he wrote upon, as well as its importance to contemporary philosophy and the history of philosophy. It will be an essential reference work for anyone concerned with seventeenth century philosophy and science, as well as to all Leibniz specialists. (shrink)