To compare a novel to a work of philosophy is, admittedly, a risky exercise in analogy. When the novelist is Lawrence and the philosophical text is the ponderous and dialectical Being and Nothingness, such a comparison may seem willfully perverse and peculiarly open, insofar as it deals with Lawrence's great theme of sexuality, to his anathema of "sex in the head." Furthermore, modern criticism, especially in the Anglo-Saxon world, has tended to be wary of critical approaches that lean on notions (...) that are not derived from literature itself - a tendency that is being reinforced these days by the structuralist insistence on the "literariness" of the Text. Now, despite its metaphorical statement as a form of dramatic "gesture," Sartre's book is very definitely not a work of literature. T.H. Adamowski, associate professor of English at Erindale College, the University of Toronto, has written articles on English, American, and French literature. This essay is part of a larger study on progress on Lawrence's "sexual poetics.". (shrink)

On Cārvāka school of philosophy, with refutation of other schools in Hinduism, Buddhism, and Jainism.

В книге сделана попытка ответить на вопросы: Лихорадит не Россию, но весь мир в целом. Под угрозой - духовные основы бытия. Откуда эта агрессия? Кто и что стоит за исподволь внедряемыми лукавыми правилами поведения?

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

En sus Escolios, Nicolás Gómez Dávila hace manifiesta la relación existente entre las antiguas nociones gnósticas y las pretensiones ilustradas de la modernidad. Al determinar los fundamentos del gnosticismo en un conocimiento que se eleva sobre la fe, ubica rasgos análogos en el pensamiento moderno..

A collection of interviews with influential theorists working in philosophy of logic. The questions: Why were you initially drawn to the philosophy of logic? What are your main contributions to the philosophy of logic? What is the proper role of philosophy of logic in relation to other disciplines, and to other branches of philosophy? What have been the most significant advances in the philosophy of logic? What are the most important open problems in philosophy of logic, and what are the (...) prospects for progress? Interviews with JC Beall, John Lane Bell, Johan van Benthem, Patricia A. Blanchette, Otávio Bueno, James Cargile, Mark Colyvan, Newton Carneiro Affonso da Costa, Pascal Engel, Susan Haack, Jaakko J. Hintikka, Dale Jacquette, Penelope Maddy, Lawrence S. Moss, Catarina Dutilh Novaes, Ahti-Veikko Pietarinen, Graham Priest, Stephen Read, Nicholas Rescher, Stewart Shapiro, Peter Simons, Timothy Williamson, Jan Woleński. (shrink)

As is well known, many editors, following Valckenaer, reject the bracketed line altogether; but the omission leaves the opening clause with a very unsatisfactory ending. μπρέποντας αίθέρι, heavily stressed by its position, seems to form little less than an anticlimax, unless we assume that the stars could hardly be expected to shine in the sky. On the other hand, when line 7 is added, έμπρέποντας αίθέρ στέρας brings out clearly the fact that only certain conspicuous stars or constellations are meant—those (...) which serve as guides to the operations of agriculture and navigation, such as the Pleiades, Arcturus, and Orion, as we may see from Hesiod, Op. 609 onwards. (shrink)

Horace has told us that the author of a literary work, qui uariare cupit rem prodigialiter unam, falls into absurdities. Much more likely to meet this fate is the interpolator who has the same ambition. The above four lines are a case in point; for it is fairly certain that if this Hymn were presented to readers as it came from the hand of its author, the whole passage with its phenomenal bull and its four pacifist dogs which apparently had (...) agreed together not to bark and bite, ‘as is their nature to,’ would not be found in the text. Undoubtedly it is true, though it is by no means a marvel , that the bull which was somewhere else and the dogs which were following in his wake were not taken by the infant cattle-lifter who was satisfied, as he well might be, with a trifle of fifty cows. The veracity of the interpolater in this regard may, therefore, pass without question, and furthermore his knowledge of epic metre does not fail seriously till he reaches the fourth line, although ό δ ταρος is not really epic and λλων not λλων is required in the opening line, for he certainly did not mean, as he unwittingly says ‘other bulls,’ but ‘the others, the cows.’ After ο μνλειθεν it is quite out of the question that οĩ τε κύνες τε ταȗρος, two flagrant examples of the later article, should follow. (shrink)