THIS ESSAY DEALS WITH D F NORTON’S INTERPRETATION OF HUME’S METHODOLOGY IN THE LATTER’S FAMOUS DISCUSSION OF MIRACLES IN THE FIRST INQUIRY. NORTON CONSTRUES "EXPERIENCE" TO MEAN PERSONAL, INDIVIDUAL EXPERIENCE. THE AUTHOR SHOWS THAT THERE IS ANOTHER SENSE OF THE WORD WHICH IS MORE COSMOPOLITAN AND ONE WHICH SQUARES MORE WITH THE USES OF EVIDENCE FOUND IN THE "HISTORY OF ENGLAND". ALTERNATIVE INTERPRETATIONS OF THE HUME PASSAGE ARE GIVEN AND HUME’S METHOD IS COMPARED WITH R G COLLINGWOOD’S IMAGINATIVE RECONSTRUCTIONIST IDEA (...) OF HISTORY. (shrink)

It may be of interest to supplement the latter part of Professor Conway's article by a note applying the same standards to estimating the value of the other sources on which we have to rely for our knowledge of the Spirensian tradition. Apart from ‘L’ and Harl. 2684 Luchs used for this purpose three partially Spirensian sources: the one fourteenth-century and four fifteenth-century MSS whose archetype he called ‘R’ V, the fifteenth-century Vat. Pal. 876, and the fifteenth-century Flor. Laur. lxxxix. (...) inf. 1. The last mentioned may be dismissed as practically valueless and as supplying little more than new corruptions from an unusually contaminated intermediary. In addition to these deteriores Luchs used the Agennensis , but only for the Spirensian supplement in Book xxvi' and for the last part of Book xxx . He did not deal at all with the Spirensian textual correctors in A. (shrink)

This article takes a close look at the nature offeminine values in congruence with natural law. The thoughts of Tagore primarily and to a lesser degree of Vivekananda, Gandhi and Nivedita on this most momentous area of social-psychological well-beingfor humans are highlighted. Trendy and shallow modernism seems to be aiming at cheap goals in the name of women's liberation, and the long-term damage to humanity is becoming incalculable. The tragic and bizarre events occurring across the whole spectrum, from homes and (...) schools to business and politics, can be traced in a big way to the hot pace of centrifugalized breaking up of stable family values woven around natural, centripetal feminine values. (shrink)

A summary view of the main evidence at our disposal may be soon obtained. Three traditions appear at the outset. The first depends on a MS. once at Mainz, and now no longer extant, but of which part, at any rate, still existed in the sixteenth century; the second on an eleventh century MS. at Bamberg; and the third on a number of later MSS. in Rome, Florence, Paris, the British Museum, Oxford, Holkham, and other places. The fact that these (...) three traditions must be regarded as separate may be seen first from the parts of the decade which they each omit. (shrink)

We eat not only because it is necessary for us to, but also and much more because eating gives us pleasure.In this essay, I develop a case for G. W. Leibniz as our first modern food philosopher. It is in his theory of perception and in his culinary examples that I find the most convincing evidence, especially when I contrast them with Locke and Hume’s account of perception with reference to food. In the process, Leibniz expanded aesthetic perception to include (...) nature and food. He did not draw a distinction between ordinary or regular perception and aesthetic perception; perceiving smells and tastes are similar to perceiving colors—both have structures,2 but more on.. (shrink)

The novel Doctor Zhivago has not received the attention it has deserved lately—even much less for its philosophical ideas—so in this essay I want to bring attention to Boris Pasternak's notion of the nature of consciousness, which I find quite interesting. Yurii Zhivago, one of the principal characters in Doctor Zhivago, says the following about the experience of death: Will you [Anna Ivanovona] feel pain? Do the tissues feel their disintegration? In other words, what will happen to your consciousness? But (...) what is consciousness? Let's see. A conscious attempt to fall asleep is sure to produce insomnia, to try to... (shrink)

Горобец К. В. Аксиосфера права: философский и юридический дискурс : моногр. / К. В. Горобец. – Одесса : Фенікс, 2013. – 218 с. Монография посвящена философско-правовым аспектам аксиосферы права, которая предстает в качестве структурного компонента права и выражается в виде центрированной системы правовых ценностей и иерархизированной системы ценностей права. Правовые ценности рассматриваются как феномены, являющиеся одновременно компонентами права и способом его постижения. Ценности права понимаются как блага, которые защищаются и обеспечиваются правом в силу их значимости для человека и общества. Доказывается, (...) что аксиосфера права существует наряду с нормосферой права. При этом их целостность обеспечивается посредством особого феномена – верховенства права. Монография будет полезна специалистам в сфере философии права, общетеоретической юриспруденции, отраслевых юридических наук, а также всем, кто интересуется проблемами развития современного права. (shrink)

In a world fraught with violence in its macabre form, it is essential to have a broad and clear understanding of the principle of non-violence (ahimsa), its various nuances, its potential and limitations. Covering a span of wisdom literature on the Indian ethos from the times of the Upanishads to the works of modern seers like Gandhi, Tagore and Aurobindo, the author presents the notions of non-violence and violence along a finely graduated scale instead of going into sharp polarities. While (...) making a clear distinction between gross physical violence and the subtle play of violence in words, thoughts and ideas, the paper goes on to offer a critique of modern technology and nuclear proliferation for perpetrating violence on nature and fellow human beings in the name of progress and development. While expressing his admiration for the Gandhian principle of non-violence, the author advocates practical idealism that admits violence with caution but without hatred for the purpose of general welfare (lokasamgraha), along the lines of the messages of Krishna in the Gita. This is of practical necessity till such time as the world has been awakened to a heightened level of spiritual consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art's DetourA Clash of Aesthetic TheoriesS. K. Wertz (bio)Both John Dewey1 and Martin Heidegger2 thought that art's audience had to take a detour in order to appreciate or understand a work of art. They wrote about this around the same time (mid-1930s) and independently of one another, so this similar circumstance in the history of aesthetics is unusual since they come from very different philosophical traditions. What was it (...) about the climate of the times that led them to such an idea? Is it still viable today? Both philosophers thought that art's audience is not in a position to immediately appreciate works of art—that we are missing something for a direct appreciation or apprehension—so we must take a detour. Why the detours and what are they? Are the detours similar? And are Dewey and Heidegger right about this? The essay that unfolds below attempts to answer these questions.First a definition is in order so we know what the term "detour" means when I use it. What is a detour? It is a deviation from a direct course or the usual procedure; a roundabout way temporarily replacing part of a route; in other words, a bypass or a roundabout way to some destination. The Little Oxford Dictionary adds a different twist on my characterization: "a course that leaves and rejoins [the] direct route."3 Applying this idea to art, we can say that a detour describes an audience who ordinarily perceives an artwork is a legitimate beginning for an appreciation of it, but that course must be bypassed for another (conception) before it can rejoin the direct route (perception). In other words, perceptions in the aesthetic experience must be aided by conceptions—a decidedly Kantian stance taken by Dewey and Heidegger. Their illustrations make my interpretation plausible.One of Heidegger's examples is Van Gogh's painting of a pair of peasant boots.4 He selects this painting to illustrate his metaphysics, which centers around the notion of "equipment." Peasant boots are equipment in [End Page 100] the sense that they are worn or used; the mere thing (like shoes or boots in a store [exhibited] or a closet [in storage]) disappears in use and becomes equipment. Between equipment and mere things—these two categories of being—are artworks. They are pictorial representations of equipment (in Heidegger's illustration; a pair of shoes as mere things could be a pictorial representation, like an advertisement, but it wouldn't be the same). Through the painted boots, a world comes into focus—a network of meaning. The world Heidegger sees in the Van Gogh painting is captured in the following descriptions: "In the vicinity of the [art]work we were suddenly somewhere else than we usually tend to be…. The art work let us know what shoes are in truth" (ATCR 233). So the nature of art is still a question about the nature of representation for Heidegger: it is what the shoes disclose to us about human existence. As he says, it is not just merely a pair of shoes portrayed but shoes "from the dark opening of the worn insides … the toilsome tread of the worker stares forth" (ATCR 232). In other words, we see the difficult labor that this particular owner toiled with in her daily chores.In Tralbaut's book, he quotes Heidegger in a caption alongside the painting: "Engraving in the intimate obscurity of the hollow of a boot is the weariness of the steps of work. The rough and solid weight of the clog tells of the slow and obstinate trudge across the fields."5 Heidegger continues in the same vein:In the stiffly rugged heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field swept by a raw wind. On the leather lie the dampness and richness of the soil. Under the soles slides the loneliness of the field-path as evening falls. In the shoes vibrates the silent call of the earth, its quiet gift of the ripening grain and its unexplained self-refusal in the fallow desolation of... (shrink)