Lucius Annaeus Seneca The ancient Roman philosopher Seneca was a Stoic who adopted and argued largely from within the framework he inherited from his Stoic predecessors. His Letters to Lucilius have long been widely read Stoic texts. Seneca's texts have many aims: he writes to exhort readers to philosophy, to encourage … Continue reading Seneca, Lucius Annaeus →.

In this paper, I identify two distinct positions on the nature of the body in Plato’s dialogues. One view, which I call the pessimistic view, holds that the body is evil and as such represents an obstacle to one’s epistemic and moral development. Another view, which I call the optimistic view, holds that the body is not itself either evil or good, but rather is capable of becoming either. The two views are, I argue, incompatible. Worse still, each view is (...) individually incompatible with other claims that Plato is eager to advance in some dialogues. The pessimistic view, I argue, is incompatible with the thesis that one who has knowledge will not err. The optimistic view is incompatible with the thesis that no one errs willingly. Here I consider a number of passages in Plato’s dialogues where the nature of the body is featured, but focus particularly on passages from the Timaeus and Laws, which explicitly endorse the pessimistic and optimistic views, respectively. Plato’s views of the body, I suggest, have far reaching implications for his views on the sources of moral error and the power of knowledge in guiding right action. (shrink)

Introduction: how John the Baptist kept his head, or my life in film philosophy -- A philosophical perspective. Why not realize your world? -- Silence and stasis -- Film and modernity -- André Bazin as Cavellian realist -- On Stanley Cavell's band wagon -- What becomes of the camera in the world on film? -- Studies in criticism. "I never thought I would sink so low as to become an actor": John Barrymore in Twentieth century -- James Stewart in Vertigo (...) -- Hats off to George Cukor! -- Woody Allen's New York -- Blood is thicker than water: the family in Hitchcock -- Space and speech in the films of Yasujiro Ozu -- Romance, eroticism and the camera's gaze in Jean Genet's Un chant d'amour -- Face to face with Chantal Akerman -- Precious memories in philosophy and film -- Seeing the light in The tree of life -- A film that is also a handshake: philosophy in the films of the Dardenne Brothers -- Justifying justified -- Documentary film in Boston in the 1970s and 1980s -- Sometimes daddies don't talk about things like that -- Jean Rouch as film artist -- Dancing with Gardner: Robert Gardner's films on art -- Dead birds re-encountered: a journey of return -- Notes on the essays. (shrink)

In this article, I take up two arguments in favor of the discursive model of legal argumentation: the claim to correctness argument and the dual nature thesis. The argument of correctness implies the dual nature thesis, and the dual nature thesis implies a nonpositivistic concept of law. The nonpositivistic concept of law comprises five ideas. One of them is the special case thesis. The special case thesis says that positivistic elements, that is, statutes, precedents, and prevailing doctrines, are necessary for (...) law in order to achieve legal certainty. Without this, law would not be as perfect as it could possibly be. But it says, at the same time, that this alone would not be enough to fulfill the claim to correctness. The claim to correctness refers not only to the real dimension of law, defined by statutes, precedents, and prevailing doctrines, but also to its ideal dimension, defined, first and foremost, by justice. The special case thesis is my oldest thesis. It has remained an essential element of my system over the years. Its connection with four other theses—the Radbruch formula, the human rights thesis, the idea of deliberative democracy, and principles theory—does not change this at all. On the contrary, this connection has lent greater strength to the special case thesis. (shrink)

I distinguish between the nineteenth- to twentieth-century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth- to twenty-first-century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth-century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth- and (...) twenty-first-century practice. I use Nietzsche to track shifts from classical to neo-liberal methods of appropriating “difference.” Hipness is one form of this neoliberal approach to difference, and it is exemplified by the approach to race, gender, and pop culture in Vincente Minnelli's film The Band Wagon. I expand upon Robert Gooding-Williams's reading of this film, and argue that mid-century white hipness dissociates the popular from femininity and whiteness, and values the popular when performed by white men “acting black.” Hipness instrumentalizes femininity and racial nonwhiteness so that any benefits that might come from them accrue only to white men, and not to the female and male artists of color whose works are appropriated. (shrink)

These are the answers I gave to Brian Bix, Peter Koller, Ralf Posher, Torben Spaak, Timothy Endicott, and Jan Sieckmann at the end of a splendid conference day in 2018. The critique given to me concerned important aspects of three main themes in my work: the claim to correctness, human and constitutional rights, and the ideal dimension of law. In the last decades I have attempted to connect these themes systematically. The result is the idea of democratic constitutionalism as an (...) institutionalization of practical reason. (shrink)

These three impressive volumes seem likely to be for some time the standard collection of Leibniz’s writings in Italian translation. Replacing two volumes of 1967-68, with the same title and publisher, which were edited by Domenico Omero Bianca, the new translation by Massimo Mugnai and Enrico Pasini offers the Italian reader an outstandingly comprehensive selection of Leibniz’s works in a presentation richly though unobtrusively illuminated by the latest scholarship. My chief aim in this review will be to give scholars working (...) in English an idea of the lines of study suggested by this new product of Italian scholarship, and the resources available in it. (shrink)

Tekst niedostępny online z racji zgody na publikację przekładu tylko w wersji drukowanej.

A model of what an edition of a philosohic text for an introductory level should be. Introduction does an admirable job of putting Berkeley's thought in the intellectual context of its time. --Gary C. Hatfield.

Leibniz's version of the ontological argument, a modal argument for theism on which he worked most intensively in the 1670s, has two stages. The first, an “incomplete” proof, concludes that God can only be a necessary being, and therefore if God's existence is possible, then God exists. The second stage is an a priori argument that the existence of such a necessary God is indeed possible. Leibniz's fullest attempts at a possibility proof turn on his conception of a most perfect (...) being, and the chapter concludes that they are not likely to succeed, in part because of difficulties in connecting the concepts of perfection and necessary existence. (shrink)

My aim in this article is to flesh out a new distinction between moral responsibility, as it is understood in light of Strawson’s “reactive attitudes,” and an institutional form of responsibility—a responsibility that employees bear for their work to their superiors. I show that Strawson’s view of responsibility is separate from organizational responsibility, and hence the responsibility of employees to their managers cannot be understood in terms of indignation or resentment, both of which are key Strawsonian concepts. The latter type (...) of responsibility can be understood in terms of objective attitudes, managerial demands, organizational standards, and related expectations. Based on a Cartesian and a Wittgensteinian notions of asymmetry between first- and third-person uses of psychological concepts, Strawson developed a view of responsibility that dissolves the above asymmetry. In contrast with the latter asymmetry, which focuses on those who ascribe psychological concepts to themselves and to others, Strawson’s view is centered on the recipients of reactive attitudes. According to his view, resentment and indignation differ because they are aimed at different recipients, something that cannot be applied in cases of organizational responsibility. (shrink)

Cet ouvrage est consacré à la refondation richirienne de la phénoménologie, à partir du traitement de la question de l'espace/temps phénoménologique archaïque. Par le biais de l'analyse de cette interrogation spatio-temporelle spécifique et de la pertinence qu'elle développe, l'objectif est double : d'une part, arriver à dégager un lieu de compréhensibilité, inédit, commun aux multiples enjeux les plus fondamentaux de la refonte et de la refondation de la phénoménologie transcendantale entreprises par Richir et, d'autre part, dans la foulée, permettre par (...) là même la possibilité de comprendre l'ensemble des textes du corpus. Cette compréhensibilité des mobiles philosophiques les plus importants de la phénoménologie refondue jointe à la possibilité d'une compréhension globale et transversale de la textualité richirienne doit permettre en outre de réfléchir et de fonder la démarche tout entière. En accomplissant cette refondation de manière tout à fait originale, dans une oeuvre commencée en 1968 qui compte en 2012 près de dix mille pages, réparties en vingt ouvrages et près de deux cents articles, Richir poursuit le but et a comme ambition de bouleverser et de changer en profondeur les paramètres essentiels de la phénoménologie. Et, chemin faisant, la philosophie tout entière est à reprendre à nouveaux frais. Le lecteur est convié à pénétrer au coeur de ce nouvel espace/temps richirien, véritable idée directrice de la phénoménologie et d'une philosophie sans précédent. (shrink)

Erscheint anlasslich des 15. Weltkongresses der Internationalen Vereinigung fur Rechts- und Sozialphilosophie (IVR) vom 18. bis 24. August 1991 in Gottingen und enthalt eine Selbstdarstellung der deutschen Sektion der IVR. Die Autoren berichten uber ihre eigene theoretische Position oder uber neuere Diskussionszusammenhange, die ihnen wichtig erscheinen. Aus dem Inhalt: K. Adomeit: Menschenrechte und Rechtsphilosophie u H. Albert: Erkenntnis, Recht und soziale Ordnung u R. Alexy: Idee und Struktur eines vernunftigen Rechtssystems u O. Ballweg: Analytische Rhetorik als juristische Grundlagenforschung u R. (...) Dreier: Zur gegenwartigen Diskussion des Verhaltnisses von Recht und Moral u W. Eichhorn: Wege und Irrwege einer Transformation u M. Frommel: Mannliche Gerechtigkeitsmathematik versus weiblicher Kontextualismus? u H. Garrn: Zur rechtspraktischen Bedeutung einer Theorie der juristischen Rhetorik u G. Haney: Das Widerspruchsvolle des Rechtsbegriffs u W. Hassemer: Rechtsphilosophie, Rechtswissenschaft, Rechtspolitik - am Beispiel des Strafrechts u A. Kaufmann: 45 Jahre erlebte Jahre Rechtsphilosophie u H. Klenner: Die ontologische und gnoseologische Dimension der Sein/Sollen-Problematik u U. Klug: Multidimensionale Rechtsphilosophie u H.-J. Koch/H. Russmann: Juristische Methodenlehre und analytische Philosophie u M. Kriele: Die demokratische Weltrevolution u K. Kuhl: Rehabilitierung und Aktualisierung des kantischen Vernunftrechts u E.-J. Lampe: Moderne Rechtsanthropologie u K.A. Mollnau: Vom Beginn der Niedergangsjurisprudenz in der DDR u U. Neumann: Sprachphilosophische Ansatze in der neueren Rechtsphilosophie u u.a. (Franz Steiner 1991). (shrink)

Just what you need to get up and running with Sony's new flagship dSLRs The Sony a77, with its 24.3 megapixel sensor, full HD video capability, and translucent mirror system, is poised to be Sony's flagship dSLR camera. With many of the same features but at a lower price point, the a65 is the economy version. This guide will cover all the important steps for getting the most from either model. It shows how to set up the camera to get (...) great shots immediately, explains all the controls and shooting modes, shows how to review images and make basic edits, and offers valuable advice on taking super photos using manual settings. Sony's new a65 and a77 dSLRs feature a huge megapixel sensor, HD video, generous ISO range, and the translucent mirror system unique to Sony This easy-to-follow guide helps you make the most of your investment with complete coverage of all the basic and advanced settings and shooting modes Covers shooting in auto mode, shooting HD video, and taking manual control over exposure, focus, and lighting Explains how to play back images and perform basic edits as well as how to manipulate flash, focus, and color to create top-quality photos With Sony a65/a77 For Dummies, bestselling photography author Robert Correll gives new Sony dSLR users confidence and helps them get everything they paid for in these exciting new Sony camera models. (shrink)

Robert Almeder provides a comprehensive discussion and definitive refutation of our common conception of truth as a necessary condition for knowledge of the world, and to defend in detail an epistemic conception of truth without falling into the usual epistemological relativism or classical idealism in which all properties of the world turn out to be linguistic in nature and origin. There is no other book available that clearly and thoroughly defends the case for an epistemic conception of truth and (...) also claims success in avoiding idealism or epistemological relativism. (shrink)

Social Values and Research in Human Embryology ROBERT G. EDWARDS and DAVID J. SHARP E 125 Babies by Means of In Vitro Fertilization: Unethical Experiments ...

Bender, Robert Review of: Women in Cambridge: A Men's university - though of a mixed type, by Rita McWilliams-Tullberg, Gollancz 1975, 255 pp.

Bender, Robert Review of: Epicurus and apikorsim, by Yaakov Malkin, Library of secular Judaism, 2007. 170-pages.

Bender, Robert Review of: Ether day: The strange tale of America's greatest medical discovery and the haunted men who made it, by Julie M. Fenster, Harper/Collins, NY, 2001, 278 pages.

oeuvre posthume d'un logicien humaniste, cette etude se presente avant tout comme un bilan analytique, tout en s'alimentant a l'experience personnelle de l'auteur. Robert Blanche pose d'abord un probleme de recensement et de classement. L'esthetique n'est pas plus la science exclusive du beau que la zoologie n'est la science exclusive du cheval: le sublime, le gracieux, le poetique, d'autres categories encore l'encadrent et forment systeme avec lui, s'organisant en couples antithetiques, en triades, a la limite en rosaces (classique, romantique) (...) intercalees l'une dans l'autre. Revenant sur les categories majeures, Blanche les considere ensuite une a une, chacune ayant sa problematique propre. Le beau, defini avant tout par la nettete d'une forme, maitrise (quand il s'y allie) la dimension de l'affectif et du voluptuaire. A l'inverse, le poetique n'a ni forme geometrique, ni lisibilite immediate et synoptique. Sa forme (son anti-forme) est le vague, le vaporeux. Son lieu d'election est le temps. Vient ensuite le decrescendo qui nous conduit du sublime, dont Blanche rappelle l'essence paradoxale, a la grace, categorie de l'aisance irenique, puis au joli, ou la dimension voluptuaire, le chatouillement des sens, prend toute la place, cotoyant a sa limite inferieure la sensibilite protopathique. Blanche s'interroge enfin sur le rapport entre style et categorie. Un style est un fait historique, localise et date; une categorie, au contraire, est un mode permanent d'appreciation esthetique. (shrink)

In response to growing concern in the 1980s about the quality of public education across the United States, a tremendous amount of energy was expended by organizations such as the Holmes Group and the Carnegie Forum to organize professional development schools or “partner schools” for teacher education. On the surface, the concept of partnering is simple; however, the practice is very costly, complex, and difficult. In _Schooling, Democracy, and the Quest for Wisdom_, Robert V. Bullough, Jr. and John R. (...) Rosenberg examine the concept of partnering through various lenses and they address what they think are the major issues that need to be, but rarely are, discussed by thousands of educators in the U.S. who are involved and invested in university-public school partnerships. Ultimately, they assert that the conversation around partnering needs re-centering, refreshing, and re-theorizing. (shrink)

Die Fragestellungen der Metaphysik, so scheint es, sind nicht mehr zeitgemäß. Der Begriff erinnert an abgehobene Systeme ohne jeden Realitätssinn. Dabei gibt es kein Denken ohne Metaphysik. Unter Bezugnahme auf die Traditionen der Phänomenologie und der französischen Philosophie versteht Robert Hugo Ziegler Endlichkeit als eine positive Auszeichnung, während der Begriff der Zeitlichkeit die erste Dimension von Sein beschreibt. Sein grundlegender Beitrag zur Reflexion über Mensch und Welt zeigt, wie sich die Philosophie selbstbewusst einer Erneuerung der Metaphysik stellen kann.

The next book by award-winning author Robert Atkinson on our evolutionary path to peace.

So far my examples have illustrated purely descriptive and evaluative uses of "work of art," but my main claim is that most uses are not pure. Take a controversial example. Christo recently hung a huge, bright orange curtain between the sides of a canyon in Rifle Gap, Colorado. The curtain stretched all the way across the canyon, filled the canyon from top to bottom, and had a hole cut out for the road at the base of the canyon to pass (...) through. There was a good deal of controversy in Colorado at the time about whether the curtain was a work of art. . . . First, the curtain was not in a traditional medium, and this alone was enough to disqualify it as a work of art for some people. Still, it was an artifact, it was intended for public observation and contemplation, and it had no essential utilitarian function. That it met these criteria there could be no doubt, and this was enough for some to consider it a work of art. Others, however, required more before deciding. Of those, some said that a great deal of skill was required to produce it; that it definitely had significant formal qualities—especially the dramatic contrast in line and color between it and the completely natural surroundings; that it was certainly a creative endeavor; and that it was most conducive to aesthetic experience—comparable to certain natural phenomena. For these people it was, without a doubt, a work of art for both descriptive and evaluative reasons. Others, however, were much less charitable. They thought that if the production required skill at all, it was engineering not artistic skill; that not only did it not have significant formal qualities, it was formally trivial and sterile; that perhaps it was novel, but to call it creative was beyond the pale; that far from being conducive to aesthetic experience, it was a blight upon the landscape. Therefore, it was not a work of art. Finally, there were those people who were not sure which characteristics to attribute to the Christo production and were therefore uncertain whether it was a work of art. Robert McGregor is an associate professor of philosophy at the University of Denver and is the author of several articles on aesthetics. See also: "Christo's Gates and Gilo's Wall" by W. J. T. Mitchell in Vol. 32, No. 4. (shrink)

The late Joseph Grange is perhaps the most sharply focused and elegantly lucid of the group of North American philosophers to build new aesthetic metaphysical visions from the legacies of process philosophy and pragmatism. His peers include, among others, George Allan,1 Roger Ames,2 Chung-ying Cheng,3 Robert Corrington,4 Frederick Ferre,5 Warren Frisina,6 David L. Hall,7 Judith Jones,8 Elizabeth Kraus,9 Hugh P. McDonald,10 Steve Odin,11 Sandra Rosenthal,12 Robert Smid,13 David Weissman,14 and myself, along with our many students and colleagues. This (...) group has widely variant systems, yet what unites us is an emphasis on the aesthetic and a lack of the fear to enter deeply into metaphysics when relevant.. (shrink)