Strong evidence shows that exposure and engagement with the natural world not only improve human wellbeing but can also help promote environmentally friendly behaviors. Human-nature relationships are at the heart of global agendas promoted by international organizations including the World Health Organization’s “One Health” and the United Nations “Ocean Decade.” These agendas demand collaborative multisector interdisciplinary efforts at local, national, and global levels. However, while global agendas highlight global goals for a sustainable world, developing science that directly addresses these agendas (...) from design through to delivery and outputs does not come without its challenges. In this article, we present the outcomes of international meetings between researchers, stakeholders, and policymakers from the United Kingdom and Brazil. We propose a model for interdisciplinary work under such global agendas, particularly the interface between One Health and the UN Ocean Decade and identify three priority research areas closely linked to each other: human-nature connection, conservation-human behavior, and implementation strategies. We also discuss a number of recommendations for moving forward. (shrink)

I aim to show that there are cases in which an ordinary material object exists intermittently. Afterwards there are a few words about the consequences of acknowledging such cases, but what is of more interest is the route by which the conclusion is reached. When deciding among competing descriptions of the cases considered, I have tried to reduce to a minimum the role of intuitive judgment, and I have based several arguments on "metaphysical principles," two of which I have defended.

The book is divided into 3 parts. The first argues that activities which appear to be timeless - gathering knowledge, analysing, disseminating and employing it - are in fact time-bound and take different forms in different periods and places. The second part tries to counter the tendency to write a triumphalist history of the 'growth' of knowledge by discussing losses of knowledge and the price of specialization. The third part offers geographical, sociological and chronological overviews, contrasting the experience of centres (...) and peripheries and arguing that each of the main trends of the period - professionalization, secularization, nationalization, democratization, etc, coexisted and interacted with its opposite."--Publisher. (shrink)

Fredric Jameson's exacting essay, "The Symbolic Interference; or, Kenneth Burke and Ideological Analysis" Critical Inquiry 4 [Spring 1978]: 507-23) moves me to comment. I shall apply one of my charges of my title to him, he applies the other to me. The matter is further complicated by the fact that there is a distance at which they are hard to tell apart. For any expression of something implies a repression of something else, and any statement that goes only so (...) far is analyzable as serving to forestall a statement that goes farther. And I can't go as far as I think if I share with Jameson what I take to be his over-investment in the term "ideology." . . . the line between the implicit and the explicit being so wavering, there are many cases where the distinctions between conscious and unconscious become correspondingly blurred. But the kind of methodological repression that is implicit in Jameson's hermeneutic model can be wasteful beyond necessity. For it encourages him to be so precociously prompt in his "rereading" of a text that he doesn't allow his readers to read a single sentence of it. He doesn't tell them what Sinn, in its own terms, my text has on the subject of "ideology," "mystification," and the "unconscious." Instead, he cuts corners and settles for a report of the Bedeutung that it has for him. In this case the procedure is particularly wasteful because Jameson is highly intelligent, and if it weren't for the bad leads of his models he's the last man in the world who would have to be so bluntly inaccurate as he is on this occasion. I believe that he could put me through quite a trying ordeal if he could have but kept on the subject and pursued me accordingly. Kenneth Burke's previous contributions to Critical Inquiry are "Dancing with Tears in My Eyes" , "Post-Poesque Derivation of a Terministic Cluster" , " Motion/ Action" , and a hermeneutic fantasy, "A Critical Load . . ." . He would like us to mention that William Willeford, the interlocutor of a section in " Motion/ Action," is a professor of English at the University of Washington. (shrink)

Drug use in the workplace can pose legal and ethical challenges for employers and their employees. In this case, Fred is a long-term employee of the James Bay Logging Company who recently returned to the workplace after extensive cancer treatment. Back on the job, he experienced debilitating joint pain, a side effect of his treatments. Fred’s decision to self-medicate with marijuana for pain management poses risks for people and property in his position as a logging truck operator and a moral (...) dilemma for his employer with their zero-tolerance drug policy. The purpose of this case is for students to examine the competing interests a company faces in trying to fairly enforce their drug policy in the context of medical marijuana in the workplace and showing care and compassion to a long-term employee who violated this policy. (shrink)

An anthology of responses to the ideas of Michel Foucault. These responses are concentrated in the English world, but they try to reveal the full range of reaction and to assess Foucault's achievement and his place in intellectual history.

In this article, a preliminary investigation will be conducted in order to try to discover whether or not Aristotle’s the Art of Rhetoric can have any relevance as a handbook for the rhetoricians of the twenty-first century and in particular for advertising designers. First, the background against which this question is posed will be set out. Second, the chosen methodology will be explained. Thereafter, some qualitative data will be presented and discussed. Finally, some conclusions will be drawn suggesting that The (...) Art of Rhetoric may be just as relevant and influential today for advertising professionals as it was for the lawyers and politicians of classical times. (shrink)

The primary aim of this important study is to produce a reliable account of Peter Martyr’s life before he left Italy in 1542. Earlier biographers had been content to follow the Swiss Calvinist Josiah Simler, who knew Peter Martyr in later years, delivered his funeral oration and published it in 1563. Dr McNair has tried ‘to delve beneath Simler to contemporary records’. He has discovered, for example, that Peter Martyr was born in 1499 not, as is usually said, in 1500. (...) He has been concerned to find out when Peter Martyr left his order and his Church, suggesting that there is little reason to believe that his apostasy began in his years at the University of Padua, 1518-26; it was in Naples, between 1537 and 1540, when he came to know Juan de Valdés, that Peter Martyr’s conversion took place. ‘He arrived a reformer after the order of Ximénez, he left a reformer after the order of Zwingli’, writes Dr McNair, meaning by this the Zwingli of the years immediately before 1523, when he wished to go further than Erasmus but not so far as Luther. (shrink)

World Rugby (WR) announced in 2020 that transwomen should not be competing at the elite level because of safety and fairness concerns. WR and Jon Pike, a philosopher of sport advising them, adopted a lexical approach to get a grip on the three values in play: safety, fairness, and inclusion. Previously, governing bodies tried to balance these competing values. Michael Burke recently published a paper taking aim at Pike’s lexical approach. This is a reply to Burke.

This paper aims at discussing the relations between religion and revolution according to Edmund Burke’s and Alexis de Tocqueville’s considerations on the unleashment of the French Revolution. There is a rare dialog between both authors made by the French thinker, mainly in his book The Old Regime and the Revolution. Nonetheless, I intend to deepen this dialog. This procedure will make it possible to review the comparisons – between the English and the French Revolutions – made by both authors (...) and the distinct role played by religion in each process. Finally, I try to identify the main proximities and distances in the analysis of both authors on the theme. (shrink)

In a market place crowded with practical rhetoric books what educational value could a challenging work such as Kenneth Burke’s A Rhetoric of Motives possibly have? Burke knows but doesn’t use the terminology of the classical art and rather than analysing the persuasive rhetoric of well-known speeches to equip us with strategies, he weaves his way around literary texts, teasing out meanings that their authors something intended, sometimes did not. Yet, despite such difficulties, A Rhetoric of Motives is (...) a practical rhetoric book. It is just that its process of explication teaches us to think well. This essay tries to explain Burke’s rethinking of the purpose and contents of a traditional teaching tool—the rhetorical handbook—and defends the value of literary-rhetorical reading that aims to ‘equip’ citizens to think openly. (shrink)

Kenneth Burke is, at long last, beginning to get the attention he de- serves. Among anthropologists, sociologists, psychologists, and rhetori- cians his "dramatism" is increasingly recognized as something that must at least appear in one's index, whether one has troubled to understand him or not. Even literary critics are beginning to see him as not just one more "new critic" but as someone who tried to lead a revolt against "narrow formalism" long before the currently fashionable explosion into the (...) "extrinsic" had been dreamed of. I have recently heard him called a structuralist-before-his-time-and what could be higher praise than that! But in almost everything said about his literary criticism, there is an air of condescension that is puzzling. The tone seems usually to echo that of Rene Wellek , who, as Burke himself laments , "almost overwhelms me with praise," referring to "men of great gifts, nimble powers of combination and association, and fertile imagination," but then deplores Burke's irresponsibility, repudiates his critical judgments, condemns his general method without bothering to look closely at it, and in general makes him look like some sort of idiot savant-a buffoon with a high IQ.Wayne C. Booth received the Phi Beta Kappa Christian Gauss Award in 1962 for his book The Rhetoric of Fiction. His most recent works, A Rhetoric of Irony and Modern Dogma and the Rhetoric of Assent, appeared this year. His contributions to Critical Inquiry include "Irony and Pity Once Again: Thais Revisited" , "M.H. Abrams: Historian as Critic, Critic as Pluralist" , "THE LIMITS OF PLURALISM: 'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "CRITICAL RESPONSE: Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter and W.J.T. Mitchell: "EDITORS' NOTE: Sheldon Sacks 1930-1979". (shrink)

One Introduction The student who tries to define Edmund Burke's political theory attempts something that Burke refused to do himself. ...

In a market place crowded with practical rhetoric books what educational value could a challenging work such as Kenneth Burke’s A Rhetoric of Motives possibly have? Burke knows but doesn’t use the terminology of the classical art and rather than analysing the persuasive rhetoric of well-known speeches to equip us with strategies, he weaves his way around literary texts, teasing out meanings that their authors something intended, sometimes did not. Yet, despite such difficulties, A Rhetoric of Motives is (...) a practical rhetoric book. It is just that its process of explication teaches us to think well. This essay tries to explain Burke’s rethinking of the purpose and contents of a traditional teaching tool—the rhetorical handbook—and defends the value of literary-rhetorical reading that aims to ‘equip’ citizens to think openly. (shrink)

U clanku autori ispituju tri pozicije u estetickoj raspravi o uzvisenom koja se vodila u 18. veku - Edmunda Berka, Imanuela Kanta i Fridriha Silera. Oni takodje pokusavaju da rekonstruisu politicku pozadinu svake od ovih teorijskih pozicija: starorezimski konzervativizam, republikanski liberalizam i romanticarsku zudnju za 'trecim putem'. Najsofisticiraniju i najzreliju teoriju uzvisenog pronalaze u Silerovim estetickim delima, pogotovo u onima koja su usledila nakon njegovog razocarenja u Francusku revoluciju i u kojima su najtemeljnije razmatrani odnosi izmedju uzvisenog i paradoksa istorijskog (...) nasilja. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Eighteenth-Century Hermeneutics: Philosophy of Interpretation in England from Locke to BurkePaul J. KorshinEighteenth-Century Hermeneutics: Philosophy of Interpretation in England from Locke to Burke, by Joel Weinsheimer; xiii & 275 pp. New Haven: Yale University Press, 1993, $30.00.Hermeneutics has until the present study had little application to eighteenth-century England. The omission is curious for, although there were few advances in biblical scholarship during the Restoration and eighteenth century, (...) modern literary criticism begins in this century with Dryden and Johnson, modern aesthetics with Shaftesbury and the Scottish school of taste, and modern theories of art with Reynolds and writers on the picturesque. Joel Weinsheimer’s treatment of this topic, then, instantly possesses originality, not only from a lack of serious competition but because of its approach to [End Page 365] hermeneutics. He “does not offer a historical narrative” of what happened in hermeneutics in eighteenth-century England (p. xi). Rather, Weinsheimer prefers to see hermeneutics as a series of snapshots of how various writers, of whom only a few are conventional exegetes, deal with matters of interpreting texts. In all, the book treats eight major figures (Swift, Locke, Toland, Bolingbroke, Hume, Reid, Blackstone, and Burke), devoting a chapter to each.The method in each one is approximately the same: Weinsheimer produces a reading not of a single work alone but of all, or almost all that an author writes about interpretation. In the case of Swift, for instance, his principal contribution on exegesis, A Tale of a Tub, is a satire on styles of exegesis Swift considered ridiculous. This chapter adds little to what we know of Swift but, in relation to Weinsheimer’s analysis of Sir William Blackstone, we can see that there is a legal background to parts of the debate among the three brothers on the meaning of Scripture. Locke (pp. 23–45) also dealt with the Bible extensively, but his tendency to prefer the doctrine of “sola scriptura” limits what an author can say about his hermeneutics. John Toland (pp. 46–71), in his Christianity Not Mysterious, proposes radical notions of biblical exegesis, and Weinsheimer gives us a lucid reading of the first English skeptical exegete. All the other figures he studies, however, had little interest in traditional literary exegesis. Weinsheimer sees Bolingbroke (pp. 72–102) as a philosopher of history who tried to generate a theory of decoding the past, but he does not clearly distinguish Bolingbroke’s rules for writing history. Hume (pp. 103–34) wrote extensively on exegetical topics without actually being an exegete; although this is one of Weinsheimer’s more opaque chapters, it does succeed in showing the diversity of Hume and his inability to reason conclusively on matters of interpretation. Hume basically did not think that there is any problem in understanding others, so his theories of exegesis are not coherent. So, too, Thomas Reid (pp. 135–65) considered language, properly used, as lacking in opacity; hence elaborate theories of interpretation have little use for him.However, with Blackstone and Edmund Burke, Weinsheimer contributes his two most interesting chapters. The law, as Blackstone conceived of it, is extremely difficult to understand, so his Commentaries on the Laws of England is an attempt to read legal texts “in the context of general literacy” (p. 168); Bentham would later imitate him. Burke, Weinsheimer argues, started as an aesthetician and ended applying principles of good and bad taste to political behavior, always one of the weaknesses of reactionary politics.In a brief epilogue (pp. 226–33), Weinsheimer speculates on the effort of eighteenth-century hermeneutics to understand historical reason, but he does not comment on the failure of the period to produce a single important hermeneuticist. His own choice to avoid major exegetes such as Samuel Johnson and Joshua Reynolds abridges his results dramatically, but a study based on scholarly snapshots always courts this risk. Hermeneutics is a [End Page 366] recondite concept, yet Weinsheimer renders his topic more difficult than it need be by frequent shifts in its definition and a complex, often unclear, style. Eighteenth-Century Hermeneutics provides a start, if not a definitive treatment, for later students of exegesis in the English Enlightenment.Paul... (shrink)

In this article I will combine Erving Goffman’s sociology with some of the main aspects of Actor-Network Theory in order to outline a theatrical conception of social power. My first aim is to try to summarize the sociological perspective introduced by Kenneth Burke and then improved on by Erving Goffman to understand the face-to-face interactions of everyday life. Secondly, I will try to use the theatrical metaphor underlying this theoretical framework to describe power-over relations in everyday life. Thanks to (...) the combination of the dramaturgical theory proposed by Erving Goffman and the ‘object turn’ given to social theory by Actor-Network Theory, a theatrical conception of power allows the episodic, dispositional and systemic dimensions of power relations to be mapped respectively depending on the actors’ performances, their roles of power and the institutionalized scripts. Moreover, this theatrical representation of power-over relations is a defaced understanding of the phenomenon that enables us to investigate not only its different directional forms (power-to, -over and -with), but also their possible variants (empowerment, resistance, domination and solidarity). (shrink)

However, Stein's self-images are more than appropriations of a male identity and masculine interests. Several of them are irrelevant to categories of sex and gender. In part, Stein is an obsessive psychologist, a Euclid of behavior, searching for "bottom natures," the substratum of individuality. She also tries to diagram psychic genotypes, patterns into which all individuals might fit. Although she plays with femaleness/maleness as categories, she also investigates an opposition of impetuousness and passivity, fire and phlegm; a variety of regional (...) and national types; and the dualism of the "dependent independent," who tends to resist. In part, as she puzzles her way towards knowing and understanding, she presents herself as engaged in aural and oral acts, listening and hearing before speaking and telling. That sense of perception as physical also emerges in a passage in which she, as perceiver/describer, first incorporates and then linguistically discharges the world: "Mostly always when I am filled up with it I tell it, sometimes I have to tell it, sometimes I like to tell it, sometimes I keep on with telling it."1 · 1. The Making of Americans: Being a History of a Family's Progress , p. 325. Catharine R. Stimpson, associate professor of English at Barnard College, is the editor of Signs: Journal of Women in Culture and Society and the author of J.R.R. Tolkien as well as other essays and fiction. See also: "Visual Rhetoric in The Autobiography of Alice B. Toklas" by Paul K. Alkon in Vol. 1, No. 4; "Gertrude Stein, the Cone Sisters, and the Puzzle of Female Friendship" by Carolyn Burke in Vol. 8, No. 3. (shrink)

A great deal of ink has been spilled trying to define political conservatism. Yet, far too many of these definitions have failed to isolate a unified and distinctive set of normative commitments that conservatives can be said to share. This has led some critics to allege that the view has no definition. In this paper, I show that there are in fact two perfectly comprehensible conceptions of the theory that meet these criteria. However, I argue that, given some fairly uncontroversial (...) facts about human institutions, neither version represents a believable political philosophy. I conclude that there are legitimate and distinctive conservative political reasons, but that any attempt to describe these as our sole or primary political reasons is doomed to fail. (shrink)

When its atmosphere processing plant's fusion reactor exploded, it turned it into a desolate, irradiated hunk of rock uninhabitable by humans for thousands of years. The explosion was not far off from what the surviving humans in Aliens were planning anyway: nuke the site from orbit. To set the stage for considering the military decisions of Colonial Marines from an ethical perspective, strap in like it's a simulated combat drop from low orbit. This chapter looks at the Aliens future of (...) the twenty‐second century. After the first tragic encounter with the Xenos in Aliens, the remaining humans are trying to figure out their next steps in the back of the armored personnel carrier (APC). Many of the ideas being tossed around in the APC (even slimy Carter Burke's) keep the Xenos distant and so actually reduce the threat, backing the humans away from the need to make decisions in a “supreme emergency”. (shrink)

Contemporary understandings of nature, or what is ‘natural’, are increasingly subject to debate in our bio-technological age. In this article, I argue that ideas about nature and biology bear a largely unacknowledged relation to normative ideas about sex in western science and philosophy. By examining the concepts of nature and sex in the writings of prominent 18th-century thinkers such as Kant, Rousseau, Burke and Linnaeus, I try to show that in response to the withdrawal, absence or ‘death’ of God (...) that characterizes the Enlightenment worldview, the desire to control sexual expression emerges as a key feature of scientific, aesthetic and philosophical systems of knowledge. Moreover, this desire shapes the concept of nature in such a way that it becomes amenable to the specifically 19th-century figuration of modern biological science. (shrink)

Cynical speech is a proper form of manifestation of what we call cynicism. It takes the form of a persuasive strategy which assumes the achievement of the rhetorical consubstantiation of a cynical speaker and her/his auditorium. Cynical speech is a game that takes place between three sides: a cynical speaker posing as an immoralist, a moralist and an auditorium, the acquisition of which is the aim of both interlocutors. At the outset, the cynical speaker gives the identity of naive dilettantes’ (...) to both the members of the auditorium and the moralist and then tries to persuade the audience to side with him and take on the role of the students of a cynical expert. This is what can be described as cynical modulation. In its course, the initial opposition of a professional versus dilettante turns into an opposition of master versus student, while the unattractive identity of a dilettante is transferred to a moralist. In this way, the speaker achieves what Kenneth Burke thinks is the right goal for any rhetorical act: the speaker’s consubstantiation with the auditorium. This process is presented based on the example of the disputes between Socrates, as a moralist on the one hand, and sophist-politicians Thrasymachus and Callicles, who personify the type of cynical speakers, on the other. The analysis of cynical speech carried out in the paper leads to an indication of some basic features of this way of speaking, as well as the relationship that exists between them and the content of viewpoints voiced by cynical speakers. These viewpoints have been described as aristocratic democratism and people’s anti-democratism. These are two forms of what has been described as the cynical counter-ideal. The adoption of these positions is an indirect expression of the same systematic ambiguity that lies in the form of cynical speaking, which belongs to the very essence of cynicism as a cultural phenomenon. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Our Best RhetorologistWayne C. BoothAristotle’s Rhetoric: An Art of Character, by Eugene Garver; 328 pp. Chicago: University of Chicago Press, 1994, $53.95.Eugene Garver’s new book is not only an original and challenging account of Aristotle’s Rhetoric. It is one of the fullest and most responsible encounters ever with philosophical, political, and ethical issues raised by the theory and practice of rhetoric. I’ll go even further. Because Garver grapples so (...) well with how Aristotle’s problems differ from ours, and how his solutions do not quite fit what we most need, I hereby confer upon him, without irony, the title of supreme “rhetorologist” (a term he needs but does not use).A rhetorologist is not just “rhetorician” or “rhetorical theorist” or “philosopher of rhetoric.” Garver’s work dramatizes our need for a term for the “comparativist of rhetorics,” the thinker who probes how disparate rhetorical practices and theories compete and are finally, inescapably related. In earlier times when all philosophers were trained to think about rhetoric the term “genuine philosopher” might have served the trick. But it won’t work today.Garver has spent decades on this masterwork of rhetorology, and he thus joins those rare masters-of-interrelated-rhetorics—Kenneth Burke, Richard McKeon, who else?—those who do justice both to the importance and the complexities of a subject that Aristotle has led us into but himself could never have dreamed of, since he had available no fully developed alternative “rhetorics” to do a “-logy” on. [End Page 116]The book is too ambitious and complex to allow full justice here. It is a book not just to read but to study; it is a book to teach from. All attentive readers will find themselves drawn into issues previously dodged, or engaged in quarrels about theses they’ve never met before. Those like me whose interests overlap strongly with Garver’s will of course dispute about some points. What will prove important, as the book gets discussed, will be our recognition of just why the project itself has led Garver, and leads us, into some inescapable juggling with several different and potentially contradictory theses, each of them so important that it must at moments have invited Garver to consider it as primary. Indeed, when an original thinker bites off more than anyone can chew, let alone fully digest, we should not be surprised if we have a hard time deciding just what the main point is. Several times in my first reading I thought, “Garver has mistitled this book: it should be called...”—and then I’d try out a title that fit the argument at that point but would not fit precisely what came next.The result is that different sympathetic readers will find different books here, with at least the following ambiguously related purposes—all of them to my mind either firmly achieved or at least pursued so effectively that refutation will prove difficult. Some of them are the overt theses of particular chapters, but all are found echoed or implied in every chapter. And all are finally and impressively interrelated.IFirst, Garver works, as he must, to show the faults of past readings of the Rhetoric. The chief of these has been the reduction to a handbook for rhetors; it is not a technical handbook, though it can be used as that, but an effort to “construct a civic relation between argument and ethos, so between techn̄e and phron̄esis [prudence]” (p. 77). “Aristotle’s political project is to maximize the active—energeia—side of rhetoric and so civilize the activity of influencing beliefs and judgments and convert into a minor irritant the role played by disreputable tactics such as playing on irrelevant emotions in the hearers” (p. 40). “I have... assumed that instead of doing that job [the ‘handbook’ job] badly, Aristotle is in fact trying to accomplish something else. I see him exhibiting the internal values and standards of rhetorical argument to legislators and citizens” (p. 235), [and thus making possible] “a new conception of the ethical, and of the relation of logos and ethos” (p. 16). “Aristotle’s Rhetoric is about a civic art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.2 (2001) 93-112 [Access article in PDF] Enthymemes, Common Knowledge, and Plausible Inference Douglas Walton The study of enthymemes has always been regarded as important in logic, critical thinking, and rhetoric, but too often it is the formal or mechanistic aspect of it that has been in the forefront. This investigation will show that there is a kind of plausibilistic script-based reasoning, of a kind that (...) has mainly been studied in artificial intelligence, that should have a much more important role to play in the study of enthymemes. But then curiously, as will also be shown, this plausibilistic type of reasoning was familiar in the ancient world, to the Sophists, as well as to leading philosophers such as Plato and Aristotle. By linking this ancient notion of plausibility to the modern notion used in computer science, this investigation reveals an important basis for the enthymeme that has a type of logical structure in its own right, but also has an informal aspect.An enthymeme, in current usage, is an argument that has one or more premises, or possibly a conclusion, not explicitly stated in the text, but that needs to have these propositions explicitly stated to extract the complete argument from the text. Sometimes enthymemes are described as arguments with "missing premises." That vocabulary is awkward, however, because the nonexplicit statement that needs to be added can be a conclusion, at least in a minority of cases. To make the exposition below smoother, the term nonexplicit assumption will be used to cover either the case of a nonexplicit premise or that of a nonexplicit conclusion. The problem with enthymemes is that if the nonexplicit assumptions in an argument are supposed to be propositions used by the arguer (as opposed to just the propositions needed to make the argument structurally correct, according to some standard), reasonable people can have differences of opinion on what the nonexplicit assumptions are supposed to be. The problem is that filling in the missing parts of enthymemes depends on interpreting the natural language [End Page 93] in which the argument was put forward to try to determine what the speaker meant to say.The solution to the problem comes through the recognition that enthymemes rest not only on formal (structural) criteria, but also on informal criteria. One of the most important of these informal criteria is something often called "common knowledge" (Govier 1992; Freeman 1995). But as shown below in a set of selected case studies of enthymemes, "common knowledge" is not really a kind of knowledge at all. It is really plausibility, or eikos, something well known in the ancient world and often misleadingly translated as "probability." Curiously, Aristotle's original doctrine of the enthymeme was based on this notion of plausibility. This historical fact has often been a source of puzzlement and confusion, and sometimes it has even been taken to indicate a defect or contradiction in Aristotle's treatment of the enthymeme. However, the goal of this investigation is not primarily historical. It is to work out one of the most important required steps toward a solution to the problem of enthymemes. But to do this, it is necessary to come back to the ancient notion of plausible inference. 1. The problem with enthymemes Once you have any formal theory of inference, like syllogistic, for example, you will be confronted by cases of arguments in everyday discourse that meet all the requirements for a structurally correct inference except that some part or parts, usually a premise or a conclusion, is missing. By "missing" is meant that the proposition in question has not been explicitly stated in the text of discourse, even though it may be clear enough that the speaker (writer) was relying on it, or including it, as part of the argument. The classic example is the following inference: All men are mortal; therefore, Socrates is mortal. To evaluate such an argument, surely some account of the "hidden" or "missing" assumption needs to be taken. The problem with enthymemes (Burke 1985; Gough and Tindale 1985; Hitchcock 1985) is that, if given carte... (shrink)

Suffering Art Gladly is concerned with the ostensibly paradoxical phenomenon of negative emotions involved in the experience of art: how can we explain the pleasure felt or satisfaction taken in such experience when it is the vehicle of negative emotions, that is, ones that seem to be unpleasant or undesirable, and that one normally tries to avoid experiencing? The question is as old as philosophical reflection on the arts, beginning with Plato and Aristotle, and subsequently addressed by Hume, Burke, (...) Diderot, Kant, and Schopenhauer, among others. Moreover, it is still an important and unresolved question in contemporary philosophy of art, where the discussion has been notably enlivened by recent research on the nature of imagination, cognition, and the emotions. Suffering Art Gladly comprises essays of two kinds, though the division between them is not airtight. The first kind are essays with a primarily historical focus, examining the problem of negative emotion from art as treated by important figures in the history of aesthetic thought, including Aristotle, Hume, Diderot, Kant, and Schopenhauer. The second kind are essays with a primarily contemporary focus, in which the methods and tools of contemporary analytic philosophy are much in evidence. In addition to the thirteen essays forming the heart of the book there is a general introduction by the editor, motivating the basic problem with which the essays are variously concerned and identifying the presuppositions or assumptions that are involved in different solutions to the problem. The individual essays are wide-ranging, dealing with a variety of artforms, negative emotions, and specific works of art, and the contributors, all recognized scholars in the field of aesthetics, are a mixture of junior and senior figures representing seven nationalities. (shrink)

Not uncommon for Russian translations of British philosophical classics is the problem of not conveying the notions of imagination and fancy properly. The purpose of this paper is to serve as a reminder of the fact that concepts of fancy and imagination began to grow apart as early as the first part of 18 th century, and it is necessary to treat them accordingly for the translation to be correct. Very soon, the notion of imagination and the distinction between imagination (...) and fancy began to be involved in the contemplation of political reality. Today it is the notion of political imagination that attracts researchers the most, providing a tool for explaining continuity and discontinuities in political process as well as left utopianism and conservative nostalgia. The awareness of the distinction between imagination and fancy could foster research activity in such fields as the history of ideas and intellectual history as well as studies in ideology and power. The distinction is examined on the basis of texts usually considered to be written by authors of conservative strand. It is an interesting fact, indeed, that it was conservatives who made the main contribution to the development of this distinction in English-language philosophy. Among them are Coleridge, who resolutely draw the line between fancy and imagination, and Burke with his appeal to the moral imagination. The kindred typology of imagination was proposed in 20 th century by such thinkers as Irving Babbitt, T.S. Eliot and Russell Kirk. The importance of Kirk lies partly in that fact that he began the discussion of the conservative attitude to imagination and tried to frame it as a coherent narrative. (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.3 (2001) 260-274 [Access article in PDF] Second Thoughts on the Critiques of Big Rhetoric Edward Schiappa This note is divided into three parts. First, I explore some answers to the question "How did Rhetoric get so Big?" Second, I review some of the more important criticisms of a "globalized" or "universalized" view of rhetorical studies. Finally, I contend that the critiques of Big Rhetoric do (...) not withstand scrutiny and ought to be dismissed for insufficient evidence. While there certainly are important issues for scholars of rhetorical studies to consider about how to enhance the quality and importance of our work, such issues should not include the concern that rhetoric has grown too "big."By "Big Rhetoric" I refer only to the theoretical position that everything, or virtually everything, can be described as "rhetorical." I refer to the growth of rhetorical scholarship in communication studies and other disciplines as the "popularization" of rhetorical studies. 1 Theories associated with Big Rhetoric are credited with popularizing or at least rationalizing what Herbert W. Simons (1990) calls the "rhetorical turn" in a variety of disciplines. Within the journals and conventions of members of the National Communication Association (NCA), popularization is often characterized by studies of the form "the rhetoric of X," where X could literally be anything. Outside of the NCA-defined parameters of communication studies, popularization is evidenced by the apparently ever-increasing ranks of scholars who use "rhetoric" as a relevant and important term of art within their scholarship. By either measure, it can be argued fairly convincingly that "rhetoric" has become a widely used construct in scholarship. What I wish to engage is the disputed desirability of broad definitions and the related popularization of rhetoric. [End Page 260] 1. Whence big rhetoric? There are a number of narratives on the rise of Big Rhetoric already in print in communication studies (Simons 1990; Gaonkar 1990), rhetoric and composition (Berlin 1987; Young and Goggin 1993), and interdisciplinary publications (Roberts and Good 1993; Mailloux 2000; Nelson, Megill, and McCloskey 1987). Many accounts identify the 1960s as a turning point. For better or for worse, there was a confluence of changing rhetorical practices, expanding rhetorical theories, and opportunities for rhetorical criticism. The cultural clashes of the 1960s were felt perhaps most acutely on college campuses. The sufficiency of deliberative argument and public address can be said to have been called into question, whether one was an antiwar activist who hated LBJ's war in Vietnam or a pro-establishment stalwart trying to make sense of the rhetoric of protest and demonstration. Years later, scholars would characterize war itself as rhetorical. What counted as rhetorical practice was up for grabs.At about the same time, our understanding of rhetorical theory was being expanded. Here we can identify two main strands of thought. For ease of reference I will call one the symbolic interactionist rationale and the other the epistemological rationale. The symbolic interactionist rationale can be boiled down to a syllogism: All persuasive actions are rhetorical. All symbol/language-use is persuasive. Therefore: All symbol/language-use is rhetorical. Perhaps the two most significant pronouncements of this approach--for my generation of rhetoric scholars, at any rate--are by Richard Weaver and Kenneth Burke. Weaver claims that "language is sermonic" in the sense that whenever we offer a description or label a phenomenon, we are "preaching" a particular way of making sense of it (1970, 201-25). Burke, of course, has two famous (or infamous) statements in Rhetoric of Motives: first, that rhetoric is "the use of language as a symbolic means of inducing cooperation in beings that by nature respond to symbols" (1950, 43); and second, that "something of the rhetorical motive comes to lurk in every 'meaning,' however purely 'scientific' its pretensions. Wherever there is persuasion, there is rhetoric. And wherever there is 'meaning,' there is 'persuasion'" (1950, 172). Obviously, such pronouncements serve as encouragement to [End Page 261] those who would define rhetoric broadly, and arguably fueled the popularization of rhetorical studies within the ranks of NCA.The epistemological rationale is fueled... (shrink)

The aim of this essay is to clarify the meaning and extent of Kant's liberalism by contrasting some of his key ideas to those of Burke, Hobbes, Machiavelli, Nozick, Rawls, and Schmitt. My claim is that Kant's political philosophy navigates the path between the extremes of liberalism and conservatism, just as his theoretical philosophy tries to navigate between dogmatism and skepticism, and that current liberal claim on Kant has important limitations in Kant's letter, as well as in spirit.

The concept of “magic realism” raises many problems, both theoretical and historical. I first encountered it in the context of American painting in the mid-1950s; at about the same time, Angle Flores published an influential article in which the term was applied to the work of Borges;1 but Alejo Carpentier’s conception of the real maravilloso at once seemed to offer a related or alternative conception, while his own work and that of Miguel Angel Asturias seemed to demand an enlargement of (...) its application.2 Finally, with the novels of Gabriel García Márquez in the 1960s, a whole new realm of magic realism opened up whose exact relations to preceding theory and novelistic practice remained undetermined. These conceptual problems emerge most clearly when one juxtaposes the notion of magic realism with competing or overlapping terms. In the beginning, for instance, it was not clear how it was to be distinguished from that vaster category generally simply called fantastic literature; at this point, what is presumably at issue is a certain type of narrative or representation to be distinguished from realism. Carpentier, however, explicitly staged his version as a more authentic Latin American realization of what in the more reified European context took the form of surrealism: his emphasis would seem to have been on a certain poetic transfiguration of the object world itself—not so much a fantastic narrative, then, as a metamorphosis in perception and in things perceived . In García Márquez, finally, these two tendencies seemed to achieve a new kind of synthesis—a transfigured object world in which fantastic events are also narrated. But at this point, the focus of the conception of magic realism would appear to have shifted to what must be called an anthropological perspective: magic realism now comes to be understood as a kind of narrative raw material derived essentially from peasant society, drawing in sophisticated ways on the world of village or even tribal myth. Recent debates, meanwhile, have complicated all this with yet a different kind of issue: namely, the problem of the political or mystificatory value, respectively, of such texts, many of which we owe to overtly left-wing revolutionary writers .3 In spite of these terminological complexities—which might be grounds for abandoning the concept altogether—it retains a strange seductiveness which I will try to explore further, adding to the confusion with reference points drawn from the work of Jacques Lacan and from Freud’s notion of the “uncanny,” and compounding it by an argument that magic realism is to be grasped as a possible alternative to the narrative logic of contemporary postmodernism.4 1. See Angel Flores, “Magical Realism in Spanish American Fiction,” Hispania 38 : 187-92.2. See Alejo Carpentier, “Prólogo” to his novel El Reino de este mundo ; the most useful survey of the debate remains Roberto Gonzalez Echeverria, “Carpentier y el realism magico,” in Otros Mundos, otros fuegos, ed. Donald Yates, Congreso International de Literature Iberoamericana 16 , pp. 221-31.3. See Angel Rama, La Novel en America Latina , and especially Carlos Blanco Aguinaga, De Mitólogos y novelistas , in particular the discussions of Gabriel García Márques and Alejo Carpentier.4. My own general frame of reference for “postmodernism” is outlined in my “Postmodernism; or, The Cultural Logic of Late Capitalism,” New Left Review 146 : 53-92. Frederic Jameson, William A. Lane Professor of Comparative Literature at Duke University, is the author of The Prison-House of Language and The Political Unconscious: Narrative as a Socially Symbolic Act. He is also a member of the editorial collective of Social Text. His previous contributions to Critical Inquiry are “The Symbolic Inference; or, Kenneth Burke and Ideological Analysis” and “Ideology and Symbolic Action”. (shrink)

The narrative world of the Alien universe is shot through with self‐interested motivations, many of which focus on money. Employees do not have Full Moral Status (FMS), but from the point of view of managers they are valuable assets, i.e., have instrumental value for what they can do to maximize profits. The company, or its agents, repeatedly violates the stringent restrictions on harming beings normally considered to have FMS. There are indications that Carter Burke tried to impregnate Ripley in (...) Aliens by pushing a Facehugger onto her in the lab. This chapter questions what sort of protections would the crews of the Nostromo, Sulaco, and Prometheus have if stockholder theory were rejected. There are at least three different theories people can use to evaluate how each iteration of Weyland Industries treats its employees in the Alien films. These include stockholder theory, libertarian theories, and stakeholder theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:1 1 6 Philosophy and Literature 1.Jesse Kalin, "Philosophy Needs Literature: John Barth and Moral Nihilism,"Philosophy and Literature 1(1977): 170-82. 2.Kalin states, in summary fashion, that in argument by "exhibition" we are made aware that Jake's concern for Rennie is a "case of relative value which is genuinely reason giving" (p. 176). But he does not defend this claim, so we can only note it and pass on. 3.A. (...) C. Bradley, "Poetry for Poetry's Sake," Oxford Lectures On Poetry (New York: St. Martin's Press, 1965), p. 24. 4.On the "heresy of the separable substances," see Bradley, p. 12 ff., where he defends the claim that "subject is the opposite... of the whole poem. Substance is within the poem." Recall also Robert Frost's dictum that the poem is what remains after translation. 5.J. Glenn Gray, On Understanding Violence Philosophically and Other Essays (New York: Harper and Row, 1970), p. 79. 6.Cf. Eliseo Vivas, "Critical Assizes," The Blue Guitar 1 (1975):84. "... The critic who is interested in going through literature to moral philosophy, political thought, social theory, or the rest, is a man the seriousness of whose interest in any of these disciplines can be questioned. As a moral philosopher, no novelist or literary critic can tie Kant's shoes or those of Bishop Butler; I know of no novelist or literary critic who as a political thinker can hold a candle to Edmund Burke or Michael Oakeshott, or who as a sociologist can rival Karl Marx or Max Weber. A literary critic who thinks he can go through literature to a well established discipline cultivated by the men I have mentioned or others of lesser stature is a dilettante in the pejorative sense of the term. He can't take his drink at the bar and take it straight; he sits in a booth and sweetens his bourbon with gingerale, or, God forbid, with Coca-Cola." 7.William Gass, Fiction and the Figures of Life (New York: Alfred A. Knopf, 1970), p. 11. "An idea must be thought before it can be tested, but a principle encased in fiction has, most likely, not been thought at all. It has been used." HOW WIDE THE GULF? a rejoinder by Jesse Kalin Several rather loosely related but important theses can be abstracted from Curtler's remarks. First, that philosophy and literature are so different in character that it is hard to see how they can seriously have anything to do with each other. Second, that the main thesis of my paper—that philosophy at least sometimes needs literature as an essential stage in its program—is false. And third, that my interpretation of Barth's novels is, if not incorrect, only one of several conflicting readings and hence not able to support the claims I base upon it. I shall discuss each of these in turn. Jesse Kalin117 Throughout, Curtler tries to draw the difference between philosophy and literature as sharply as possible. He concludes that not only do they have no need for each other, but to the degree that one "succeeds as a poet he fails as a philosopher" (p. 115). What might appear to be overstatement (and thus most unphilosophical) is supported by a series of contrasts. Philosophy is a matter of proof, not intuition, of argumentation, not persuasion, of concepts, not images, and so on. However, this rigid and rather positivistic picture of philosophy, resting on a supposedly clear and unbridgeable distinction between philosophy and literature made in terms of method and style, is mistaken, and with it the corollary that the two have nothing to contribute to one another.1 If we look at the actual practice of major philosophers, especially modern ones, we will find that their styles are not readily describable in the terms Curtler suggests they should be to count as philosophy. Imagination, intuition, images, makings, even the actual construction of characters and "dramatic action," are in many cases central. Descartes, Kierkegaard, Nietzsche, Wittgenstein, Heidegger, and Sartre are all cases in point. The essence of this supposed gulf between philosophy and literature is brought out when Curtler says "the way of... (shrink)

Joseph Priestley was a man of many and varied intellectual interests. This thesis surveys his philosophical thought, with a central focus on his philosophical theology. The subject can be divided into two parts, natural theology and moral theology. Priestley's natural theology is a perhaps unique attempt to combine and harmonize materialism, determinism and theism, under the auspices of Newtonian methodology. His materialism is based on three arguments: that interaction between matter and spirit is impossible; that a dynamic theory of matter (...) breaks down the active/passive dichotomy assumed by many dualists; and that Newton's "Rules of Reasoning in Philosophy" require the rejection of the "hypothesis" of the soul. His determinism arises from his theory of causation. He attempts to show that the only acceptable account of causation is one in which every cause is invariably followed by the same effect, and that libertarianism violates this central assumption of scientific thought. His theism rests on the Argument from Design. He defends the Argument by trying to show that none of the alternatives to Design advanced in Hume's Dialogues concerning Natural Religion constitute a plausible scientific hypothesis. His critics accused his synthesis of materialism, determinism and theism of leading to atheism or pantheism. His defence against these charges is that his system is essentially theistic, and that its ontology is determined by the Argument from Design. Priestley's moral theology is also in part a response to Hume's Dialogues. He offers a number of replies to the "problem of evil". Evil and adversity heighten our appreciation of good; they are a consequence of the finitude of the creation; they follow from the desirability of having a world governed by general laws; and they make possible the achievement of moral character. Character-formation is his main defence, and his methodology requires him to show that adversity leads more often than not to positive results. This requirement is embodied in his progressivist philosophy of history. History, he holds, exhibits temporal purpose and Design, just as nature exhibits atemporal purpose and Design. Priestley's political thought can be seen as arising from his moral theology, mediated by the notions of "luxury", which he regards as morally harmless, and "idleness", which is the main source of moral evil. His combination of liberalism and radicalism is examined both for internal consistency and as a response to the events of his day, ending with the French Revolution. Priestley is interesting partly for his unorthodoxy, partly for the inter-connectedness of his diverse concerns, and partly because he debated with distinguished contemporaries. Throughout the thesis his views are juxtaposed with those of Hume, Reid, Price, Boscovich, Burke and a number of other thinkers. (shrink)

The essay defines two different modes of filmic violence: sublime and drastic pictures of violence. Based on the definitions of the sublime by Edmund Burke and Immanuel Kant, I argue that the sublime has the tendency to detach the viewer from possible affective end empathetic response to pictures of bodies in pain on the screen. By contrast, the drastic mode has potential to evoke empathetic reactions. Both modes are grounded in specific ways of showing violence: the sublime mode diminishes (...) the bodies on the screen, the drastic mode shows us the faces in close-up and tries to immerse the viewer in the violence.Both definitions are informed by phenomenological film theory, which positions the body of the viewer at the centre of film reception. Nevertheless, the somatic experience is not the only scope of film reception. Films not only show us a filmic world but also suggest a more or less specific way of seeing the world outside the cinema.To this effect, both ways of staging violence have ideological implications. The sublime violence allows the viewer to experience himself as strong and invulnerable, while drastic pictures of violence tend to victimize the viewer.These assumptions are tested on two exemplary instances: the helicopter scene in Francis Ford Coppolas war movie Apocalypse Now and the shower scene in Alfred Hitchcock’s Psycho. (shrink)

This article compares science and the novel as different rhetorical strategies for representing relationships to the limits of knowledge and what seems unknown. I draw on Kenneth Burke's figure of “equipment for living” to revive the question of the value of knowledge and art for life, identifying the comparison between science and the humanities itself as a social phenomenon and focusing on the uses and rhetorical value of such disciplines and of literature for life in a period ruled by (...) concerns for so-called applied knowledge and dreams of its transfer and dissemination. In this way, I try to escape from a notion of rhetoric limited solely to social interaction and the mutual persuasiveness of selves in order to develop, by linking rhetoric to subjectivity, a rhetorical approach to the consciousness of a subject conceived as relating to the limits of what can be known. (shrink)

Operational definitions were once considered the backbone of semantics of natural science. Still in 1955 A. W. Burks published an explication of the general scheme of these definitions. In the fifties of the last century however they became outmoded, while high school teachers for presumably good reasons were still in favour of them. I consider the banishment of this kind of definitions premature, and try to improve the explication of Burks in a way which qualifies them for a rehabilitation. In (...) the improved explication the concept of intrinsic property becomes important, for which I give a new definition on the basis of a structuralist account of physical processes. German Die operationalen Definitionen galten einst als der Kern der Semantik der Naturwissenschaft. Eine letzte Explikation des allgemeinen Schemas der operationalen Definitionen hat A. W. Burks noch 1955 vorgelegt. In den fünf ziger Jahren kamen sie indessen aus der Mode, während sie noch weiterhin von Gymnasiallehrern - wohl aus berechtigten Gründen - geschätzt wurden. Ich halte die Verbannung dieser Art von Definitionen für voreilig und versuche die Explikation von Burks in einer Weise zu verbessern, dass man sie wieder in der Wissenschaftstheorie rehabilitieren kann. In der verbesserten Explikation wird der Begriff der inneren Eigenschaft eines Dinges oder Vorgangs wichtig, den ich auf der Basis einer strukturalistischen Darstellung physikalischer Vorgänge neu definieren möchte. (shrink)

Unlike most anthologies in aesthetics and the philosophy of art, the present selection does not try to collect representative extracts from the writings of most, or even many, important aestheticians throughout the ages. It aims for depth rather than width and tries to do as much justice as possible to those aestheticians which it does include, without bothering much about those left out. The result is really impressive. No less than 138 pages are devoted to Plato and Aristotle alone, where (...) the reader may find not only the usual passages from the Poetics and the Rhetoric but also relevant material from De Partibus Animalium and Politica. Such an anthology, so it seems, must be an opinionated one. Thus, while it contains some 70 pages of Dewey's Art as Experience, there is not a single line of Santayana in it. Although I disagree with the choice made in this case, I cannot but admire the courage it took to make it. Another surprise is the inclusion of the relatively obscure mediaeval thinker, Marsilio Ficino, in an anthology which excludes Baumgarten, Lessing, Burke, Schiller, Coleridge, Bosanquet and Alexander, to mention but few, and whose sole contemporary representative is Heidegger. The extracts from Ficino's commentary on Plato prove, however, to be highly interesting and relatively original, too. Thus, even if Ficino is not as great as some of the aestheticians not included in this volume, I, for one, would not regret this mark of personal, off-beat, taste. The last selection, Heidegger's "The Origin of the Work of Art," appearing for the first time in English translation, comes as special bonus to the reader. The editors' introductions to each selection are generally concise, precise, and very helpful. Sometimes, however, one may find an exception: in their introduction to the Heidegger translation, the editors characterize the Kehre as a "reversal... from the stress on anxiety, nothingness... to a stress on more affirmative moods." This is, to say the least, a grossly misleading remark, which is likely to confuse the student of the later Heidegger rather than help him.—E. M. Z. (shrink)

A cloudy November evening deep in an old forest. It is really dark, and I try to observe my environment. I discern the difference between the treetops and the dark sky and the snow-covered ground. Everything else is formless. My vision is quite useless, and the other senses are weak in these circumstances. Only the background hum is audible and most aromas are erased by the freezing temperature. In a winter outfit, all I can feel is the moving air on (...) my face. Yet, this is not sensory deprivation, there are things to observe. What is it possible to discern when the visual stimulus is minimized? This article focuses on the aesthetic experience of darkness by analyzing a visit to a deep natural darkness and attempts to connect this distinct case to aesthetic theory. The emphasis is on the descriptive analysis of the challenges of seeing in the darkness. (shrink)

This engaging little book strays far from the mainstream of recent philosophy of religion—but for good reason and to good effect. Burke repudiates the parochialism implicit in the recent preoccupation with linguistic meaning, arguments for God’s existence, and problems of immortality. Most recent texts in the field display a "relentlessly Western, even Anglo-Saxon tunnel vision", viewing only a limited form of human religiosity in terms of some narrowing perspective. Hoping to break new ground, Burke treats religion as a (...) universal human phenomenon and tries to illumine its various central "functions" or purposes without casting them in an alien light. His method is expository, descriptive, "analytic," in an unusual sense, and non-argumentative. He attempts to display religious structures in such a perspicuous way that philosophical insight or "recognition" may occur. The result is, as the author notes, "one man’s perspective", yet it is a perspective informed by a great variety of thinkers from various reaches of sociology, theology and philosophy. (shrink)

In this essay, we suggest practical ways to shift the framing of crisis standards of care toward disability justice. We elaborate on the vision statement provided in the 2010 Institute of Medicine (National Academy of Medicine) “Summary of Guidance for Establishing Crisis Standards of Care for Use in Disaster Situations,” which emphasizes fairness; equitable processes; community and provider engagement, education, and communication; and the rule of law. We argue that interpreting these elements through disability justice entails a commitment to both (...) distributive and recognitive justice. The disability rights movement's demand “Nothing about us, without us” requires substantive inclusion of disabled people in decision‐making related to their interests, including in crisis planning before, during, and after a pandemic like Covid‐19. (shrink)

The visuospatial system integrates inner and outer functional processes, organizing spatial, temporal, and social interactions between the brain, body, and environment. These processes involve sensorimotor networks like the eye–hand circuit, which is especially important to primates, given their reliance on vision and touch as primary sensory modalities and the use of the hands in social and environmental interactions. At the same time, visuospatial cognition is intimately connected with memory, self-awareness, and simulation capacity. In the present article, we review issues associated (...) with investigating visuospatial integration in extinct human groups through the use of anatomical and behavioral data gleaned from the paleontological and archaeological records. In modern humans, paleoneurological analyses have demonstrated noticeable and unique morphological changes in the parietal cortex, a region crucial to visuospatial management. Archaeological data provides information on hand–tool interaction, the spatial behavior of past populations, and their interaction with the environment. Visuospatial integration may represent a critical bridge between extended cognition, self-awareness, and social perception. As such, visuospatial functions are relevant to the hypothesis that human evolution is characterized by changes in brain–body–environment interactions and relations, which enhance integration between internal and external cognitive components through neural plasticity and the development of a specialized embodiment capacity. We therefore advocate the investigation of visuospatial functions in past populations through the paleoneurological study of anatomical elements and archaeological analysis of visuospatial behaviors. (shrink)

Contents \t\t\t\t\t \tTRANSLATOR'S INTRODUCTION \t\t1 \t \tNOTE ON THE TRANSLATION \t\t39 \t OBSERVATIONS ON THE FEELING OF THE BEAUTIFUL AND SUBLIME \t\t\t\t\t \tSECTION ONE: \t\t\t\t \t\tOf the Distinct Objects of the Feeling of the Beautiful and Sublime \t\t45 \tSECTION TWO: \t\t\t\t \t\tOf the Attributes of the Beautiful and Sublime.

A critical reply to the anti-mindfulness critics in the collection, who oppose the popular secularized adoption of mindfulness on various grounds (it is not Buddhism, it is Buddhism, it is a tool of neo-capitalist exploitation, etc.), I argue that mindfulness is a quality of consciousness, opposite mindlessness, that may be cultivated through practice, and is almost always beneficial to those who cultivate it.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literary Power and the Criteria of TruthThomas ReinertLiterary Power and the Criteria of Truth, by Laura Quinney; xx & 183 pp. Gainesville: University Press of Florida, 1995, $35.00.Given the predominance of cultural materialism and historical scholarship, literary studies no longer ascribe much of a distinct, autonomous role to literariness as such. Current critics are interested in the complicity of individual works in the propagation of social and political (...) power, but the notion of literariness as a power in its own right has for the most part dropped away. The decline of this concept is a real loss; how great a loss becomes evident when one reads a book like Laura Quinney’s Literary Power and the Criteria of Truth, which in a gripping and authoritative fashion recalls the seductiveness of the literary.Quinney writes with a deconstructionist’s sense of the shaping influence that the desire for literature exercises over claims about the world. For Quinney, the literary—not just individual works, but literariness as a distinct disposition of language—has power and solicits attention on its own terms. To explain her general view of the prevalence of the literary in human experience, she makes use of Wittgenstein’s account of language as an engrossing and primary activity, irreducible to other drives or aims. To discuss the special case of literature, she turns to Maurice Blanchot’s notion that literature constitutes a distinct, impersonal, absorbing, but also uncanny and desolate “space.” Her book aims to affirm and expand on this Blanchotian idea.Quinney is primarily concerned with what she calls the “tragic paradigm” whose basic premise is that grim and depressing depictions of life somehow tell a greater or deeper truth than happy and comic depictions do. Working from this premise, writers and readers tend to set tragedy and the sublime above comedy and the beautiful in the hierarchy of literary forms. Quinney both acknowledges the force of this preference and puzzles over its oddity; she tries here to explain its origins.Through an examination of some of its most compelling exponents, Quinney interprets the tragic paradigm as a symptom of the struggle between an attraction to and a recoil from the “literary,” understood in Maurice Blanchot’s sense as an impersonal elaboration of language—language as a motiveless, subjectless compulsion akin to repetition in Freud. According to Quinney, literature is necessarily oriented toward representation, and for this reason, a passion for literature expresses itself as a “love of mimesis.” But because there is an irreducible difference between representation and what it represents, and because the truth it tries to tell is bound to be distorted, the love of it leads to a feeling of loss and mourning; and in turn this feeling seems to reflect the deepest truth of literary experience. According to Quinney, works that obey the logic of the tragic paradigm see the world through the prism of this failure of mimesis, the failure of literature to coincide with the world, and as a result the world appears to them colored with the pain of that failure.After a preliminary discussion of the sublime and tragedy, focusing on [End Page 275] Aeschylus, Edmund Burke, and Simone Weil, Quinney devotes the bulk of her book to Samuel Johnson and Percy Shelley as major representatives of the tragic paradigm. Johnson embodies the paradigm in all its ramifications, Quinney argues. Shelley, conversely, offers an example of the peculiar, almost surreal desolation that takes over when an author tries to break with the paradigm—that is, to deny tragedy any special epistemological authority—yet remains compulsively under its spell.These are dense, riveting, illuminating, and groundbreaking chapters. Readers will admire Quinney’s range of reference, her sureness of judgment, her originality, and her power to fascinate. Her argument takes counter-intuitive, paradoxical turns, but always with deliberation and patience. The book is strange, but its strangeness never feels gratuitous or self-indulgent; it only recalls the strangeness that may after all be intrinsic to literature itself.Thomas ReinertWellesley CollegeCopyright © 1996 The Johns Hopkins University Press... (shrink)

Health research increasingly relies on organized collections of health data and biological samples. There are many types of sample and data collections that are used for health research, though these are collected for many purposes, not all of which are health-related. These collections exist under different jurisdictional and regulatory arrangements and include: 1) Population biobanks, cohort studies, and genome databases 2) Clinical and public health data 3) Direct-to-consumer genetic testing 4) Social media 5) Fitness trackers, health apps, and biometric data (...) sensors Population biobanks, cohort studies, and genome databases Clinical and public health data Direct-to-consumer genetic testing Social media Fitness trackers, health apps, and biometric data sensors Ethical, legal, and social challenges of such collections are well recognized, but there has been limited attention to the broader societal implications of the existence of these collections. Although health research conducted using these collections is broadly recognized as beneficent, secondary uses of these data and samples may be controversial. We examine both documented and hypothetical scenarios of secondary uses of health data and samples. In particular, we focus on the use of health data for purposes of: Forensic investigations Civil lawsuits Identification of victims of mass casualty events Denial of entry for border security and immigration Making health resource rationing decisions Facilitating human rights abuses in autocratic regimes Forensic investigations Civil lawsuits Identification of victims of mass casualty events Denial of entry for border security and immigration Making health resource rationing decisions Facilitating human rights abuses in autocratic regimes Current safeguards relating to the use of health data and samples include research ethics oversight and privacy laws. These safeguards have a strong focus on informed consent and anonymization, which are aimed at the protection of the individual research subject. They are not intended to address broader societal implications of health data and sample collections. As such, existing arrangements are insufficient to protect against subversion of health databases for non-sanctioned secondary uses, or to provide guidance for reasonable but controversial secondary uses. We are concerned that existing debate in the scholarly literature and beyond has not sufficiently recognized the secondary data uses we outline in this paper. Our main purpose, therefore, is to raise awareness of the potential for unforeseen and unintended consequences, in particular negative consequences, of the increased availability and development of health data collections for research, by providing a comprehensive review of documented and hypothetical non-health research uses of such data. (shrink)

With her heavy-equipment operator certification in hand, Fiona is a new hire on a construction crew; the only woman in a family-owned organization aside from the HR manager, the sister of the company president and vice-president. Soon after her hire, the president of the company began a pattern of sexually targeting Fiona. She went to great lengths to avoid her boss, but the harassment and assaults continued. After one incident, Fiona reported the abuse to the company VP who offered her (...) a financial settlement in exchange for her silence. Fiona thought speaking out would put an end to the strain the abuse had caused, but other dilemmas had just begun. The case allows students to examine the competing interests Fiona faces in deciding whether to accept a financial settlement from her employer, that would greatly help her family, but at the cost of signing a non-disclosure agreement. (shrink)

According to the PubMed resource from the U.S. National Library of Medicine, over 750,000 scientific articles have been published in the ~5000 biomedical journals worldwide in the year 2007 alone. The vast majority of these publications include results from hypothesis-driven experimentation in overlapping biomedical research domains. Unfortunately, the sheer volume of information being generated by the biomedical research enterprise has made it virtually impossible for investigators to stay aware of the latest findings in their domain of interest, let alone to (...) be able to assimilate and mine data from related investigations for purposes of meta-analysis. While computers have the potential for assisting investigators in the extraction, management and analysis of these data, information contained in the traditional journal publication is still largely unstructured, free-text descriptions of study design, experimental application and results interpretation, making it difficult for computers to gain access to the content of what is being conveyed without significant manual intervention. In order to circumvent these roadblocks and make the most of the output from the biomedical research enterprise, a variety of related standards in knowledge representation are being developed, proposed and adopted in the biomedical community. In this chapter, we will explore the current status of efforts to develop minimum information standards for the representation of a biomedical experiment, ontologies composed of shared vocabularies assembled into subsumption hierarchical structures, and extensible relational data models that link the information components together in a machine-readable and human-useable framework for data mining purposes. (shrink)

Recently, Brummett and Crutchfield advanced two critiques of theists who object to moral enhancement. First, a conceptual critique: theists who oppose moral enhancement commonly do so because virtue is thought to be acquired only via a special kind of process. Enhancement does not involve such processes. Hence, enhancement cannot produce virtue. Yet theists also commonly claim that God is perfectly virtuous and not subject to processes. If virtue requires a process and God is perfectly virtuous without a process, however, then (...) theists contradict themselves. Second, a moral critique: theists who reject moral enhancement are selfish, because accepting moral enhancement would (allegedly) reduce widespread suffering. Theists often condemn selfishness, however. By condemning selfishness and (simultaneously) rejecting enhancement, therefore, theists contradict themselves yet again. We argue that both critiques fail. Both substantially misrepresent their target. First, Brummett and Crutchfield confuse metaphysical enhancement (attempts to alter human nature) with moral enhancement (attempts to become better human beings). Authors that Brummett and Crutchfield cite object to the former, not the latter. Second, both conceptual and moral critiques overlook the many resources within theistic traditions that can quickly resolve relevant (alleged) contradictions. The conceptual critique, for example, misrepresents both common views held among theists (regarding God's virtue) and the ways in which virtue may be acquired. Similarly, the moral critique mischaracterizes the relationship commonly posited by theists between enhancement and agency. By attending to what theists actually claim—rather than relying on caricatures—it becomes clear that each of Brummett and Crutchfield's critiques fail. (shrink)