Contemporary liberal thinkers commonly suppose that there is something in principle unjust about the legal prohibition of putatively victimless crimes. Here Robert P. George defends the traditional justification of morals legislation against criticisms advanced by leading liberal theorists. He argues that such legislation can play a legitimate role in maintaining a moral environment conducive to virtue and inhospitable to at least some forms of vice. Among the liberal critics of morals legislation whose views George considers are Ronald Dworkin, Jeremy (...) Waldron, David A.J. Richards, and Joseph Raz. He also considers the influential modern justification for morals legislation offered by Patrick Devlin as an alternative to the traditional approach. George closes with a sketch of a "pluralistic perfectionist" theory of civil liberties and public morality, showing that it is fully compatible with a defense of morals legislation. Making Men Moral will interest legal scholars and political theorists as well as theologians and philosophers focusing on questions of social justice and political morality. (shrink)

Research on social influences often distinguishes between social and quality incentives to ascribe meaning to the value that popularity conveys. This study examines the neural correlates of those incentives through which popularity influences preferences. This research reports an functional magnetic resonance imaging experiment and a behavioral task in which respondents evaluated popular products with three focus perspectives; unspecified focus, focus on social aspects, and focus on quality. The results show that value derived with a social focus reflects inferences of approval (...) and reward value, and positively affects preferences. Value derived with a quality focus reflects inferences of quality and negatively affects preferences. This study provides evidence of two distinct inferential routes on both a neurological level, represented by different regions in the brain, and a behavioral level. These results provide the first evidence that a single popularity cue can in different ways influence the value derived from product popularity. (shrink)

This monograph is designed to provide an introduction to the principal areas of tense logic. Many of the developments in this ever-growing field have been intentionally excluded to fulfill this aim. Length also dictated a choice between the alternative notations of A. N. Prior and Nicholas Rescher - two pioneers of the subject. I choose Prior's because of the syntactical parallels with the language it symbolizes and its close ties with other branches of logi cal theory, especially modal logic. The (...) first chapter presents a wider view of the material than later chapters. Several lines of development are consequently not followed through the remainder of the book, most notably metric systems. Although it is import ant to recognize that the unadorned Prior-symbolism can be enriched in vari ous ways it is an advanced subject as to how to actually carry off these enrichments. Readers desiring more information are referred to the appropri ate literature. Specialists will notice that only the first of several quantifi cational versions of tense logic is proven complete in the final chapter. Again constraints of space are partly to blame. The proof for the 'star' systems is wildly complex and at the time of this writing is not yet ready for publi cation. (shrink)

There is no question, of course, that music is a temporal art. Stravinsky, noting that it is inconceivable apart from the elements of sound and time, classifies it quite simply as "a certain organization in time, a chrononomy."1 His definition stands as part of a long and honored tradition that encompasses such diverse figures as Racine, Lessing, and Schopenhauer. Schopenhauer, putting the case in its strongest terms, remarks that music is "perceived solely in and through time, to the complete exclusion (...) of space," thus making explicit the opposition between time and space and ruling out the latter as a possible area for legitimate musical experience. Yet anyone familiar with the philosophical and theoretical literature dealing with music must be struck by the persistence with which spatial terminology and categories appear. Indeed, it would seem to be impossible to talk about music at all without invoking spatial notions of one kind or another. Thus in discussing even the most elementary aspects of pitch organization—and among the musical elements, only pitch, we should remember, is uniquely musical—one finds it necessary to rely upon such spatially oriented oppositions as "up and down," "high and low," "small and large" , and so on. Space, then, pace Schopenhauer, apparently forms an inseparable part of the musical experience. · 1. Igor Stravinsky, Poetics of Music in the Form of Six Lessons, trans, Arthur Knodel and Ingolf Dahl , p. 28. Robert P. Morgan is active as both a music composer and theorist. A professor of music at the University of Chicago, he is currently composing a concerto for flute, oboe, and string orchestra to be performed at Swarthmore College. His previous contribution to Critical Inquiry, "On the Analysis of Recent Music," appeared in the Autumn 1977 issue. Anthony Gilbert responds to the current essay in "Musical Space: A Composer's View". (shrink)

Selected by CHOICE as an Outstanding Academic Book for 1995.

Our understanding of the sense of taste is largely based on research designed and interpreted in terms of the traditional four tastes: sweet, sour, salty, and bitter, and now a few more. This concept of basic tastes has no rational definition to test, and thus it has not been tested. As a demonstration, a preliminary attempt to test one common but arbitrary psychophysical definition of basic tastes is included in this article; that the basic tastes are unique in being able (...) to account for other tastes. This definition was falsified in that other stimuli do about as well as the basic words and stimuli. To the extent that this finding might show analogies with other studies of receptor, neural, and psychophysical phenomena, the validity of the century-long literature of the science of taste based on a few is called into question. The possible origins, meaning, and influence of this concept are discussed. Tests of the model with control studies are suggested in all areas of taste related to basic tastes. As a stronger alternative to the basic tradition, the advantages of the across-fiber pattern model are discussed; it is based on a rational data-based hypothesis, and has survived attempts at falsification. Such has found broad acceptance in many neural systems. (shrink)

"Public reason" is one of the central concepts in modern liberal political theory. As articulated by John Rawls, it presents a way to overcome the difficulties created by intractable differences among citizens' religious and moral beliefs by strictly confining the place of such convictions in the public sphere. Identifying this conception as a key point of conflict, this book presents a debate among contemporary natural law and liberal political theorists on the definition and validity of the idea of public reason. (...) Its distinguished contributors examine the consequences of interpreting public reason more broadly as "right reason," according to natural law theory, versus understanding it in the narrower sense in which Rawls intended. They test public reason by examining its implications for current issues, confronting the questions of abortion and slavery and matters relating to citizenship. This energetic exchange advances our understanding of both Rawls's contribution to political philosophy and the lasting relevance of natural law. It provides new insights into crucial issues facing society today as it points to new ways of thinking about political theory and practice. (shrink)

In this book it is argued that this picture of Feyerabend is false.

The Second Creation is a dramatic--and human--chronicle of scientific investigators at the last frontier of knowledge. Robert Crease and Charles Mann take the reader on a fascinating journey in search of "unification" with brilliant scientists such as Niels Bohr, Max Planck, Albert Einstein, Erwin Schrödinger, Richard Feynman, Murray Gell-Mann, Sheldon Glashow, Steven Weinberg, and many others. They provide the definitive and highly entertaining story of the development of modern physics, and the human story of the physicists who set out (...) to find the "theory of everything.". (shrink)

Liberals often view religion chiefly as "a problem" for democratic discourse in modern pluralistic societies and propose an allegedly neutral solution in the form of philosophical distinctions between "the right" and "the good" or populist invocations of a "right to choose." Drawing on cultural theory and ethnographic research among activists in the Oregon debates over the legalization of physician-assisted suicide, I demonstrate that liberal "neutrality" harbors its own cultural bias, flattens the complexity of public debates, and undermines liberalism's own commitments (...) to equality. I conclude that the praiseworthy liberal goal of impartiality in policy decisions would best be met not by the inaccessible norm of neutrality but by a norm of inclusivity, which intentionally solicits multiple cultural perspectives. (shrink)

In this essay, I contend that Polanyi’s view of metaphor as outlined in Meaning (1975), has important heuristic implications for understanding the way metaphor functions in trauma therapy. I also contend that in his seminal book on trauma, The Body Keeps the Score (2014), Bessel van der Kolk, M.D., although he rarely uses the term, relies on metaphor as a vital element in his treatment of trauma victims. Analysis of Van der Kolk’s practice further confirms and extends Polanyi’s view of (...) the bodily roots of all knowledge. Juxtaposing Polanyi’s theory and Van der Kolk’s practice demonstrates how unspeakable trauma can be overcome through the embodied metaphoric/linguistic matrix of human speech. (shrink)

"Crease’s brilliantly exploited theatrical analogy places scientific theorizing back into the wider context of experimental inquiry." —Robert C. Scharff Crease attacks the "mystical" account of experimentation embraced by the positivist and Kantian varieties of philosophy of science, according to which experimentation takes a backseat to theory.

Celebrating science Content Type Journal Article Pages 1-3 DOI 10.1007/s11016-011-9545-1 Authors Robert P. Crease, Department of Philosophy, Stony Brook University, 213 Harriman Hall, Stony Brook, NY 11794-3750, USA Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

According to [Edward T.] Cone, then, there is a great deal of music written today that is simply no longer susceptible to analysis. If this is true, it can mean one of several things. First, it may indicate that, although there are new compositions that one finds interesting and representative of the period in which we live, the music simply does not lend itself to analysis. Thus, even if we enjoy and admire this music, there is not much that we (...) can say about it beyond perhaps a mere description—which I think most of us, along with Cone, would agree does not really constitute an analysis. I have the impression that many proponents of new music hold this view—that is, they feel that new music is understandable only through a sort of mindless apprehension of its sensory surface. But if this is a fair account of the situation surrounding new music, it seems to me to represent a very serious—and also depressing—state of affairs. For what it means, I suspect, is that new music does not lend itself to being thought about in any serious way at all; and if so, then new music is missing a crucial dimension—namely, an accompanying conceptual framework, erected through a body of critical and theoretical discourse, through which its meaning is defined and redefined as our thinking about music evolves. Indeed, this dimension forms—and has always formed—such an integral component of Western art music that its absence would seem to indicate that music, at least as we have known it, is in all likelihood dead. Robert P. Morgan is professor of music theory and composition at Temple University. In addition to being a composer, he is active as a critic; his articles on contemporary music have appeared recently in several music journals and in An Ives Celebration. His contribution to Critical Inquiry, "Musical Time/Musical Space" appeared in the Spring 1980 issue. (shrink)

Francis Bacon proposed to take "all knowledge to be my province." He posed two related questions which he understood better than any other man of his time: can human beings respect and obey nature, and can they also command nature? He asked many other questions considered useless and impractical in his time but vital in ours.

This chapter contains sections titled: Recommended readings.