Several recent papers dealing with Plato's position on the imperfection of the phenomenal world draw heavily on the differences between two kinds of predicates in order to show the following: In the middle dialogues, Plato posits Forms only as referents of what the writers call incomplete predicates. He does not posit Forms as referents for complete predicates. When interpreters ignore the differences between these kinds of predicates, they ascribe too radical a view regarding the imperfection of the phenomenal world to (...) the middle dialogues. The ontology of these dialogues includes sensible particulars which retain their identity over time even though they are continually changing in some respect or other. (shrink)

This paper brings together the work of Nicholas Wolterstorff and William Alston in speech-act theory with the aim of providing a deeper understanding of the nature of divine speaking through the medium of Scripture. Despite the fecundity of Wolterstorff's seminal work on the philosophical theology of Scripture, aspects of his speech-act centric account are underdeveloped and would benefit from the contributions of William Alston. In particular, his account of divine speech-acts could be fruitfully expanded by incorporating the concept of ‘taking (...) responsibility’ that is central to Alston's analysis of the nature of illocutionary acts. This would elucidate both the way in which readers of Scripture encounter divine practical authority in the reading process and the nature of the response of faith that is demanded of them. (shrink)

This edition replaces the earlier translation by Walter Lowrie that appeared under the title The Concept of Dread. Along with The Sickness unto Death, the work reflects from a psychological point of view Søren Kierkegaard's longstanding concern with the Socratic maxim, "Know yourself." His ontological view of the self as a synthesis of body, soul, and spirit has influenced philosophers such as Heidegger and Sartre, theologians such as Jaspers and Tillich, and psychologists such as Rollo May. In The Concept of (...) Anxiety, Kierkegaard describes the nature and forms of anxiety, placing the domain of anxiety within the mental-emotional states of human existence that precede the qualitative leap of faith to the spiritual state of Christianity. It is through anxiety that the self becomes aware of its dialectical relation between the finite and the infinite, the temporal and the eternal. (shrink)

Contributed articles on self-realization.

In his last papers about deontic logic, von Wright sustained that there is no genuine logic of norms. We argue in this paper that this striking statement by the father of deontic logic should not be understood as a death sentence to the subject. Rather, it indicates a profound change in von Wright's understanding about the epistemic and ontological role of logic in the field of norms. Instead of a logical constructivism of deontic systems revealing a necessary structure of prescriptive (...) discourse, which marked his earlier efforts, he adopted the view that such systems should be seem as mere objects of comparison, i.e. as providing practical standards of rationality for normgiving activity. Within such view he proposed an interpretation of standard deontic logic in such a way to free deontic logicians from the philosophical difficulties related to the so-called Jørgensen's dilemma and deontic paradoxes. This effort, as we claim in the present paper, is an application of Wittgenstein's therapeutic method to dissolve philosophical difficulties caused by the use of logical tools to model relations between norms. (shrink)

It is my contention here that the chapter “Of Power,” in John Locke’s An Essay Concerning Human Understanding, is not a metaphysical pronouncement upon the liberty-necessity debates but more along the lines of what those like James Harris portray it to be: a description of our experience of freedom of the will. It is also prescriptive since it is descriptive of the right use of the will. My claims are based upon two key pieces of evidence that are responses to (...) William Molyneux’s oft noted critique of the first edition of the chapter: 1) an admission by Locke in his correspondence: at least part of the reason he is attempting to avoid metaphysical pronouncements is that trying to reconcile divine and human agency is too difficult; and 2) the theological message of “Of Power”—the truly free agent is reasonable, and the truly reasonable agent will have her eyes fixed on the afterlife, thus aiming for herself to be a slave and determined, therefore, by her ever-cultivated desire for righteousness and not by her fleshly desires—and his development of it throughout the chapter eludes sectarian categorization by the avoidance of theological issues that are not unrelated to the metaphysical question of human free agency. To frame his chapter otherwise makes him out to be a theological novice or, perhaps, unconcerned with the religious background of his readership. (shrink)

"Highly recommended." —Choice "... an important event for the world of philosophy. For the first time we have available in an intelligible form the writings of one of the greatest philosophers of the past hundred years." —The Times Literary Supplement Volume 5 of this landmark edition covers an important transition in Peirce's life, marked by a rekindled enthusiasm for speculative philosophy. The writings include essays relating to his all-embracing theory of categories as well as papers on logic and mathematics.

Early Polemical Writings covers the young Kierkegaard's works from 1834 through 1838. His authorship begins, as it was destined to end, with polemic. Kierkegaard's first published article touches on the theme of women's emancipation, and the other articles from his student years deal with freedom of the press. Modern readers can see the seeds of Kierkegaard's future career these early pieces. In "From the Papers of One Still Living," his review of Hans Christian Andersen's novel Only a Fiddler, Kierkegaard rejects (...) the notion that environment is decisive in determining the fate of genius. He also puts forward his belief that each person needs a life-view or life for which and by which to live, a thought he explores further in the comic play The Battle between the Old and the New Soap-Cellars. (shrink)

Kant’s dissertation for the Master’s degree Succinct Exposition of Some Meditations on Fire was written in Latin in 1755 as a sample (specimen) preceding a Master’s exam, but its first printing did not appear until 1838. What is the relevance of this Master’s dissertation for historical and philosophical studies? To answer this question I analyse the structure and give a brief summary of the dissertation, look at the history of its writing and try to identify the place of this work (...) among Kant’s other papers on natural philosophy. I then demonstrate that Kant’s concept of ether as an elastic matter of fire, heat and light containing the forces of attraction and repulsion originates in the dissertation On Fire. I identify the provisions in Kant’s early works which he later develops in the Master’s dissertation and establish continuity between the text of On Fire and the so-called Physical Monadology, draw parallels between the ideas enunciated by Kant in his first dissertation and the interpretation of ether in the printed works that followed. Finally, I put forward the hypothesis of the heuristic potential of the On Fire treatise for the analysis of Kant’s manuscript legacy. Perhaps this dissertation will enable researchers to clear up some tangled propositions in Kant’s Opus Postumum. However, a series of further studies is needed to verify the hypothesis. (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)