ABSTRACTIn Democracy for Realists, Christopher Achen and Larry Bartels argue that voters are shortsighted and punish incumbents for politically irrelevant outcomes. These failings, in the authors’ view, mean that voters are incapable of holding politicians to account. But Achen and Bartels overstate voters’ failure to engage in effective retrospective voting. The authors also understate the degree to which accountability can be compatible with voters’ being myopic, such as when early- and late-term performance are correlated. Achen and Bartels also overlook evidence (...) that the American state acted as an insurer against social risk long before the New Deal, a fact that points to voters using relevant criteria when they appear to punish incumbents for natural disasters. Finally, while accountability is an important consequentialist reason for democracy, we should keep in mind non-consequentialist justifications for this system of government, in particular its instantiation of political equality. (shrink)

Political representation lies at the core of modern politics. Democracies, with their vast numbers of citizens, could not operate without representative institutions. Yet relations between the democratic ideal and the everyday practice of political representation have never been well defined and remain the subject of vigorous debate among historians, political theorists, lawyers, and citizens. In this volume, an eminent group of scholars move forward the debates about political representation on a number of fronts. Drawing on insights from political science, history, (...) political theory, economics, and anthropology, the authors provide much-needed clarity to some of the most vexing questions about political representation. They also reveal new and enlightening perspectives on this fundamental political practice. Topics discussed include representation before democracy, political parties, minorities, electoral competition, and ideology. This volume is essential reading for anyone interested in the ideal and the reality of political representation. (shrink)

On August 30, 2013, the American Political Science Association sponsored a roundtable on political epistemology as part of its annual meetings. Co-chairing the roundtable were Jeffrey Friedman, Department of Government, University of Texas at Austin; and Hélène Landemore, Department of Political Science, Yale University. The other participants were Scott Althaus, Department of Political Science, University of Illinois at Urbana-Champaign; Mark Bevir, Department of Political Science, University of California at Berkeley; Rogers Smith, Department of Political Science, University of Pennsylvania; and (...) class='Hi'>Susan Stokes, Department of Political Science, Yale University. We thank the participants for permission to republish their remarks, which they subsequently edited for clarity. (shrink)

This paper presents Stoicism as, in broad historical terms, the point of origin in Western thought of an extreme form of rational essentialism that persists today in the debate over human bioenhancement. Advocates of “radical” enhancement would have us codify extreme rational essentialism through manipulation of genes and the brain to maximize rational ability and eliminate the capacity for emotions deemed unsalutary. They, like Stoics, see anger as especially dangerous. The ancient dispute between Stoics and Aristotle over the nature and (...) permissibility of anger has contemporary analogues. I argue that, on the merits, this controversy should, finally, be put to rest in Aristotle’s favor. Beyond its philosophical assets, Aristotle’s perspective meshes well with “appraisal theory” of emotion in psychology and corresponding discoveries in neuroscience. What’s more, consideration of the ongoing struggle to achieve full racial equality in the United States supports the view that anger at this ongoing gap between λόγος and ἔργον is legitimate, and has a constructive role to play in furthering liberal democracy. As we are well positioned to retire the Stoics’ legacy regarding anger, all the more should we eschew transhumanists’ proposal to implement their position biologically, at which point debate over the nature and worth of anger would be permanently moot. (shrink)

The concept of similar systems arose in physics, and appears to have originated with Newton in the seventeenth century. This chapter provides a critical history of the concept of physically similar systems, the twentieth century concept into which it developed. The concept was used in the nineteenth century in various fields of engineering, theoretical physics and theoretical and experimental hydrodynamics. In 1914, it was articulated in terms of ideas developed in the eighteenth century and used in nineteenth century mathematics and (...) mechanics: equations, functions and dimensional analysis. The terminology physically similar systems was proposed for this new characterization of similar systems by the physicist Edgar Buckingham. Related work by Vaschy, Bertrand, and Riabouchinsky had appeared by then. The concept is very powerful in studying physical phenomena both theoretically and experimentally. As it is not currently part of the core curricula of STEM disciplines or philosophy of science, it is not as well known as it ought to be. (shrink)

Stokes’ earlier chapter in this volume argued that, given the role ethical considerations play in our judgments of what to believe, ethical factors will put limits on the extent to which we can embrace particularism about conspiracy theories. However, that will only be the case if there are ethical problems with conspiracy theory as a practice (rather than simply as a formal class of explanation). Utilising the Lakatosian framework for analysing conspiracy theories developed by Steve Clarke, this paper identifies (...) a morally costly feature of conspiracy theorizing: its tendency to generate and expand new accusations purely to defend the core theory from countervailing evidence. Such 'auxiliary accusations' violate important norms around justified accusation, which supplies a defeasible, but important, reason to be reluctant to take part in the practice of conspiracy theorizing. (shrink)

BackgroundInstitutions of higher learning are persistently struggling with issues of academic dishonesty such as plagiarism, despite the availability of university policies and guidelines for upholding academic integrity.MethodologyThis was a descriptive qualitative study conducted on 37 students of a Healthcare Ethics course at an Australian tertiary institution from February 2016 to October 2018. The purpose of the study was to explore the reasons for plagiarism detected the TurnitinR plagiarism checking software and extensive review of manuscripts. The interviews were conducted in private (...) rooms and in strict confidence. Thematic analysis was manually done.ResultsFour major themes namely, lack of interest; pressure of time with competing priorities; lack of understanding of the policy on academic honesty, and “the determined students” were identified. Sub themes under lack of interest were lack of preparation and effort, low self-efficacy, poor studying techniques, and convenience of internet sources. Under pressure of time, the subthemes were, misplaced priorities, procrastination, high workloads, poor planning, competing interests, and the perception of availability of time at the start of the semester. Regarding lack of understanding of the policy on academic honesty, the subthemes identified were, lake of awareness of plagiarism, lack of awareness of acceptable similarity, conflicting messages from tutors and confusion with high school learning. The determined students were those that either made all effort to reduce plagiarism but still remained high, used the another language at home other than English, had poor paraphrasing techniques or lacked resources for English language editing.ConclusionThere are varied and diverse reasons for plagiarism. There is a need to systematically reinforce and educate students on issues pertaining to academic dishonesty and their associated implications. (shrink)

In the September 2020 edition of Perception, Alan Gilchrist published an editorial entitled “The Integrity of Vision” (Gilchrist, 2020). In it, Gilchrist critiques motivated perception research. His main points are as follows: (1) Motivated perception is compromised by experimental demand: Results do not actually show motivated perception but instead reflect subjects’ desires to comply with inferred predictions. (2) Motivated perception studies use designs that make predictions obvious to subjects. These transparent designs conspire with experimental demand to yield confirmatory but compromised (...) results. (3) Motivated perception research lacks guiding theory and cannot explain what appear to be contradictory results. (4) Motivated perception presents an unsupportable assault upon the impermeability of perception. The present commentary responds to these four assertions. (shrink)

Uses insights from Kierkegaard to explore contemporary problems of self, time, narrative and death Is each of us the main character in a story we tell about ourselves, or is this narrative understanding of selfhood misguided and possibly harmful? Are selves and persons the same thing? And what does the possibility of sudden death mean for our ability to understand the narrative of ourselves? These questions have been much discussed both in recent philosophy and by scholars grappling with the work (...) of the enigmatic 19th-century thinker Søren Kierkegaard. For the first time, this collection brings together figures in both contemporary philosophy and Kierkegaard studies to explore pressing issues in the philosophy of personal identity and moral psychology. It serves both to advance important ongoing discussions of selfhood and to explore the light that, 200 years after his birth, Kierkegaard is still able to shed on contemporary problems. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Confessional modes of self-representation have become crucial in feminist epistemologies that broaden and contextualize the location and production of knowledge. In some versions of confessional feminism, the insertion of “I” is reflective, the product of an uncomplicated notion of experience that shuttles into academic discourse apersonal truth. In contrast to reflective intrusions of the first person, reflexive confessing is primarily a questioning mode that imposes self-vigilance on the process of self positioning.

Dietrich Bonhoeffer and Knud Ejler Løgstrup were WWII contemporaries: Lutheran theologians and religious figures in their respective German and Danish communities; both active in the anti-Nazi resistance. Being involved in the resistance, Bonhoeffer and Løgstrup were required to rethink what it meant to be ethical, in particular in relation to disclosure and the telling of truth, in a situation of war. In this paper, we consider the grounds on which both Løgstrup and Bonhoeffer acted, their belief in a duty or (...) requirement to resist, in light of the more general problem presented by resistance as action undertaken in a state of exception. We investigate the distinction between the normativity of ordinary or stable time, and action required in a state of exception, using the specific example of truth-telling as a normative demand and its conflict with the exceptional imperative to lie. The example of truth-telling raises important questions about the role of agency and phronetic judgment in a state of exception. In order to determine a foundation for such judgment, we turn to the framework adapted by both Bonhoeffer and Løgstrup to ground their requirement to lie: Luther’s concept of three estates. We consider how their respective concepts of mandates and laws of life/sovereign expressions of life both illuminate and highlight the more general problem of the relation between norm and exceptional action. (shrink)

In museum settings, caregivers support children's learning as they explore and interact with exhibits. Museums have developed exhibit design and facilitation strategies for promoting families' exploration and inquiry, but these strategies have rarely been contrasted. The goal of the current study was to investigate how prompts offered through staff facilitation vs. labels printed on exhibit components affected how family groups explored a circuit blocks exhibit, particularly whether children set and worked toward their own goals, and how caregivers were involved in (...) children's play. We compared whether children, their caregivers, or both set goals as they played together, and the actions they each took to connect the circuits. We found little difference in how families set goals between the two conditions, but did find significant differences in caregivers' actions, with caregivers in the facilitation condition making fewer actions to connect circuits while using the exhibit, compared to caregivers in the exhibit labels condition. The findings suggest that facilitated and written prompts shape the quality of caregiver-child interactions in distinct ways. (shrink)

Susan Sontag’s talk at the UNESCO meeting on which the French edition of Diogëne 201 was based has been replaced in this English edition of Diogenes 201 by extracts from her published work: her article ‘Looking At War’ in The New Yorker (December 2002).

This is the text of The Lindley Lecture for 1995, given by Susan Hurley, an American philosopher.

Margaret Cavendish, Duchess of Newcastle, published a wide variety of works including poems, plays, letters and treatises of natural philosophy, but her significance as a political writer has only recently been recognised. This major contribution to the series of Cambridge Texts includes the first ever modern edition of her Divers Orations on English social and political life, together with a new student-friendly rendition of her imaginary voyage, A New World called the Blazing World. Susan James explains the allusions made (...) in this classic text, and directs readers to the many intellectual debates with which Cavendish engages. Together these two works reveal the character and scope of Margaret Cavendish's political thought. She emerges as a singular and probing writer, who simultaneously upholds a conservative social and political order and destabilises it through her critical and unresolved observations about natural philosophy, scientific institutions, religion, and the relations between men and women. (shrink)

My goal in this paper is to determine whether there exists good reason to apply to Rorty the label “deliberative democrat.” There are elements of Rorty’s work that count both for and against applying this label, which I investigate here. I conclude that, if we can conceive of a deliberative democracy that is not informed by a social epistemology that relies on Reason; if we can conceive of a deliberative democracy that has a wider view of reason and of reasons (...) than is traditionally understood, then we can think of Rorty as a deliberativist; perhaps as a virtue deliberativist with an expansive idea of what counts a reason and what counts as a virtue. (shrink)

Demonic composition, demonic refinement and demonic union are alternatives to the usual ‘angelic’ composition, angelic refinement (inclusion) and angelic (usual) union defined on binary relations. We first motivate both the angelic and the demonic via an analysis of the behaviour of non-deterministic programs, with the angelic associated with partial correctness and demonic with total correctness, both cases emerging from a richer algebraic model of non-deterministic programs incorporating both aspects. Zareckiĭ has shown that the isomorphism class of algebras of binary relations (...) under angelic composition and inclusion is finitely axiomatized as the class of ordered semigroups. The proof can be used to establish that the same axiomatization applies to binary relations under demonic composition and refinement, and a further modification of the proof can be used to incorporate a zero element representing the empty relation in the angelic case and the full relation in the demonic case. For the signature of angelic composition and union, it is known that no finite axiomatization exists, and we show the analogous result for demonic composition and demonic union by showing that the same axiomatization holds for both. We show that the isomorphism class of algebras of binary relations with the ‘mixed’ signature of demonic composition and angelic inclusion has no finite axiomatization. As a contrast, we show that the isomorphism class of partial algebras of binary relations with the partial operation of constellation product and inclusion (also a ‘mixed’ signature) is finitely axiomatizable. (shrink)

Scholars of Arabic dialects have long noted the occurrence of a morpheme in a widespread number of dialects, realized -ən or -an, frequently suffixed to morphologically indefinite nouns, especially when followed by an adjective. Separately, another morpheme, realized -un or -u, is attested with a slightly different distribution in the dialects of western Yemen. Traditionally, scholars have interpreted both morphemes as reflexes of an etymological case vowel + tanwīn, traditionally labeled “dialectal tanwīn.” In this paper, I offer a new reconstruction (...) of the origin and diachronic development of this morpheme. Throughout I integrate data and insights from comparative Semitics, as well as recently studied pre-Islamic epigraphic and textual materials, in order to break the familiar Classical Arabic / dialectal Arabic dichotomy and reframe the way in which historiography of features in the dialects is conducted. (shrink)