Discrete Mathematics is designed to serve as a textbook for undergraduate engineering students of computer science and postgraduate students of computer applications. The book would also prove useful to post graduate students of mathematics. It seeks to provide a thorough understanding of the subject and present its practical applications to computer science.

This paper presents an integralist approach to Jaina logic. This is built around an analysis of the pivotal notion of antarvyāpti in Jaina logic. It is shown in this connection why antarvyāpti needs to be considered the ‘Core Perspective/problem’ of Jaina logic. Next, it is shown how all the salient features of Jaina logic (as viewed from its language-oriented perspective and the epistemic perspective respectively) stand intimately related to the so-called core perspective. In the remaining sections of the paper topics (...) like relationship of the core perspective i) to various non-standard systems of logic [DL, FL, NMR etc.,], ii) to the four pillars and to the eight MPC’s of Jaina philosophy, iii) to some bluntly unimaginative ways of looking at Jaina logic [e.g., Ducko-Rabbitism], iv) to the scheme of classification of propositions in Jaina logic, v) to the resulting conceptual economies related to methodology, and especially to a unified theory of Hetvābhāsa and, finally, vi) to a re-assessment of Frege-Husserl discord in the light of the significance of Jñānātmakatā vs Vākyātmakatā in Jaina logic, etc., have been discussed. (shrink)

Foreward by Pramod K. Nayar -- Prologue -- Acknowledgments -- Introduction -- The dys-abled players of Samuel Beckett's Endgame -- The circumcised body of Franz Kafka's select letters -- 'Connoisseurship ... of disease' and Thomas Mann's Death in Venice -- 'Undiscovered countries' with Virginia Woolf's On being ill -- 'Connect nothing with nothing' in T.S. Eliot's The wasteland -- Epilogue -- Pathography -- Index.

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)

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)

Written from the perspective of philosophy of liberation, this essay holds that the reform of basic human relationships and their cultural instantiation(s) is central to all serious societal change. The essay analyzes naive, mythological, and critical consciousness. It examines how these modes of consciousness are embodied in the health delivery system and then describes areas where practitioners and patients of critical consciousness might work for greater humanization of health care.

Treatment of diseases of the brain by drugs or surgery necessitates an understanding of its structure and functions. The philosophical neurosurgeon soon encounters difficulties when localising the abstract concepts of mind and soul within the tangible 1300-gram organ containing 100 billion neurones. Hippocrates had focused attention on the brain as the seat of the mind. The tabula rasa postulated by Aristotle cannot be localised to a particular part of the brain with the confidence that we can localise spoken speech to (...) Broca's area or the movement of limbs to the contralateral motor cortex. Galen's localisation of imagination, reasoning, judgement and memory in the cerebral ventricles collapsed once it was evident that the functional units-neurones-lay in the parenchyma of the brain. Experiences gained from accidental injuries (Phineas Gage) or temporal lobe resection (William Beecher Scoville); studies on how we see and hear and more recent data from functional magnetic resonance studies have made us aware of the extensive network of neurones in the cerebral hemispheres that subserve the functions of the mind. The soul or atman, credited with the ability to enliven the body, was located by ancient anatomists and philosophers in the lungs or heart, in the pineal gland (Descartes), and generally in the brain. When the deeper parts of the brain came within the reach of neurosurgeons, the brainstem proved exceptionally delicate and vulnerable. The concept of brain death after irreversible damage to it has made all of us aware of 'the cocktail of brain soup and spark' in the brainstem so necessary for life. If there be a soul in each of us, surely, it is enshrined here. (shrink)

Medical practice is based on teaching, learning and examples set by seniors. Past and present practices are briefly analysed. Current trends do not justify optimism. The poor patient is likely to be sidelined as doctors reach out to the rich and powerful in this country and those bringing in American dollars from abroad. While corrective steps are possible, it is unlikely that they will be implemented.

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)

Recently David Best has advanced the claim that sport is not an art form, and that although sport may be aesthetic, it is not artistic. Such a claim is false and runs counter to ordinary usage and sport practice. On behalf of sport practice, let me cite as an example the world-class Canadian skater, Toller Cranston, who thinks there are such things as ‘artistic sports, those being gymnastics, diving, figure skating’. Best claims that athletes like Cranston are conceptually confused and (...) that they endow sport with greater respectability than should be allowed. Ascribing the predicate ‘artistic’ to sport performances reflects ‘barbarous usage’. Why does Best exclude the artistic from the realm of sport? Upon examination of his argument, one finds that this exclusion derives mainly from his concepts of art and sport. He thinks that art has a subject-matter, a content, and that sport does not. Sport is contentless, so ‘sport’ and ‘art’ are two logically distinct regions. But is this so? Are we to accept Best's argument or are we to listen to accomplished, reflective athletes in the area of artistic sports? It seems the most reasonable analytic procedure would be to listen to Cranston's case and decide whether such a piece of intentionalist criticism5 should override Best's premises. (shrink)

Jean-François Revel is the first philosopher to take food seriously and to offer a topology for food practices. He draws a distinction between different kinds of cuisine -- popular (regional) cuisine and erudite (professional) cuisine. With this distinction, he traces the evolution of food practices from the ancient Greeks and Romans, down through the Middle Ages, and into the Renaissance and the Modern Period. His contribution has been acknowledged by Deane Curtin who offers an interpretation of Revel’s conceptual scheme along (...) Platonic lines. In this essay the author reviews Curtin’s interpretation, finds it wanting in certain respects, and develops an alternative reading of Revel along Hegelian lines. This interpretation, the author believes, does greater justice to Revel’s topology for food practices. (shrink)