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This essay introduces a cluster of articles titled “Devalued Currency: An Elegiac Symposium on Paradigm Shifts.” Eagleton's piece addresses, from a perspective indebted to Walter Benjamin, the notion of Thomas Kuhn that “shifts” in the controlling paradigms of disciplines and practices are entirely transformative not only of their futures but also of their pasts. Benjamin argued that a work of art is a set of potentials that may or may not be realized in the vicissitudes of its afterlife. The true (...) significance of works might be said, therefore, to emerge only after some as-yet-unexpected event or upheaval makes their significance apparent. In this sense, we might argue that historical events make full sense only in the light of “judgment day”; until then, history remains an incoherent chronicle. But the totality that will one day be revealed cannot be anticipated. The past is open-ended because the present is, and meanwhile, the meaning of history is in our hands to change. Since we have that power, Eagleton suggests that we recycle figures of the past as characters in a comedy rather than tragedy. Still, it is never possible to say which figures of the past and which works are ultimately important and which are not, because we cannot say which mutations will result in major developments to come. No work or person is important or peripheral in itself or himself; it is the critic and historian who render them so. (shrink)

In the early years of Mendelism, 1900-1910, William Bateson established a productive research group consisting of women and men studying biology at Cambridge. The empirical evidence they provided through investigating the patterns of hereditary in many different species helped confirm the validity of the Mendelian laws of heredity. What has not previously been well recognized is that owing to the lack of sufficient institutional support, the group primarily relied on domestic resources to carry out their work. Members of the (...) group formed a kind of extended family unit, centered on the Batesons' home in Grantchester and the grounds of Newnham College. This case illustrates the continuing role that domestic environments played in supporting scientific research in the early 20th century. (shrink)

This novel's plot, if one may speak of a plot, appears to have been hatched, if one may speak of something not an egg being hatched, at Oxford. The plotters, who have unlikely names even for plotters, met in Wellington Square, a place I know well. I once drank whiskey in the afternoon there with Jane Minto, as likely a character as any in a city that breeds characters (as any follower of Inspector Morse will know). The plotters, however, (...) drank tea, from a tin teapot, while wearing wellingtons. Making something up is, in general, not that hard; making something up about Kurt Schwitters is, because his life itself was so abundant a collage. I once met a woman in front of one of his portraits: “That's me,” she said, “but I never liked it; nor did my husband; we put it under the bed.” She could have appeared in this novel but does not. Plenty of others do—relations and friends of the inventor of Merz.Merz was a fragment, a piece of Humpty Dumpty who fell off the wall in 1914 and could not be put together again. Not for want of trying by the likes of El Lissitzky, Vladimir Tatlin, Ivan Puni, and Schwitters, especially the last, collecting the Dumpty pieces into a Merzbau that was no more than an assemblage—not a Gesamtkunstwerk and not a cathedral, but what in England was once called a PreFab, a hopeful gesture in an age of helplessness. Schwitters was a collector of the discarded, of the disregarded, of the unregarded, and out of the debris he made beauty. He made poetry (if poetry it may be called) out of sounds, noises sounding in the ear like those made by the guns that had daily blown men, women, and horses to pieces.Clearly, Draesner, the author of this novel, has been totally beSchwittered. I myself became so at Oxford in 1959 and have never wavered in my beSchwitterment, albeit adding over the years beBeuysment, beFluxusment, and beKieferment to my inventory. Thus beSchwittered, I have been a pilgrim to Cylinders, though not finding it; to the grave at Ambleside, with no body in it; to Wordsworth's cottage, where I left my book of Kurt's poems; and to Hannover, to be photographed on Schwitters Square. Kurt's Hannover might have been Hanover (with a single n) had not Bismarck stolen it; Bomber Harris might, in that case, have thought twice about bombing it; and we might not have been asking of this Scheinkünstlerroman how German is it, but instead telling ourselves just how English it is. (shrink)

H. G. Wells’ Time Traveller inhabits uniform Newtonian time. Where relativistic/quantum travelers into the past follow spacetime curvatures, past-bound Wellsians must reverse their direction of travel relative to absolute time. William Grey and Robin Le Poidevin claim reversing Wellsians must overlap with themselves or fade away piecemeal like the Cheshire Cat. Self-overlap is physically impossible but ‘Cheshire Cat’ fades destroy Wellsians’ causal continuity and breed bizarre fusions of traveler-stages with opposed time-directions. However, Wellsians who rotate in higher-dimensional space can (...) reverse temporal direction without self-overlap, Cheshire Cats or mereological monstrosities. Alas, hyper-rotation in Newtonian space poses dynamic and biological problems,. Controllable and survivable Wellsian travel needs topologically-variable spaces. Newtonian space, not Newtonian time, is Wellsians’ real enemy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bill Brandt: A LifeStuart Richmond, Professor of Arts EducationBill Brandt: A Life, by Paul Delany. Stanford California: Stanford University Press, 2004, 335 pp., $47.50 hardcover.From June to September 2003, Britain's famous art gallery, the Tate Modern, housed dramatically in a gigantic, renovated power station on the south bank of the Thames, held its first major photography exhibition, entitled Cruel and Tender after comments made by a critic (...) to describe the work of Walker Evans. The twenty-three artists in the show, including August Sander, Diane Arbus, Rineke Dijkkstra, William Eggleston, Walker Evans, Philip-Lorca diCorcia, and Thomas Ruff, were mainly Americans and Germans. Bill Brandt, who had a reputation as a documentary photographer, was not included. Writing in the catalogue, Tate director Nicholas Serota notes, "Cruel and Tender examines a form of documentary photography that keeps within the limits of the medium, stressing pure description.... Surrealist and Conceptual photography would fit more naturally into the programs and displays at the Tate, but the elusive and documentary qualities in straight photography challenge the traditions of the institution, by concentrating on a form of photography which explores the intrinsic aspects of the medium." In other words, "straight photography" serves as a kind of unemotional, uncreative narrative of ordinary life, avoiding drama, romanticism, sentimentality, deep coding, and, as far as possible, the expressive contributions of the artist. The relationship of photograph to reality, though problematic, is still interesting, according to the catalogue notes, and this contemporary work aims to inform us, literally, of the true essence, banal or otherwise, of our world. This approach acts implicitly to undermine the fake optimism of consumer capitalism.It will be useful to keep in mind this exhibition in considering the work of Brandt, for in the early 1980s Brandt was being lauded as Britain's greatest photographer, and he was nothing if not expressive. It was his métier to find the unusual in the everyday and to create meaning through careful staging and composition, drawing very much on his own personal outlook, aesthetic philosophy, and psychology. He believed all was permitted in photography, whether in the novel choice of lens, use of friends as models, or darkroom processing to achieve his vision. Rather than being a documentary photographer, at least in the purist sense of the Tate collection, he was more the poet ethnographer with a strong sense of the surreal. His was a vision that would be imposed on the world. After reading Paul Delany's excellent biography, it becomes clear why Brandt, all too soon, had become unfashionable in the eyes of the Tate organizers and contemporary photography at large. He is, nevertheless, an artist who can help us question the nature of reality while producing work that is often very complex and beautiful, and someone whose methods and ideas can serve as [End Page 118] a model of individual creative practice. The global interest in photography, the many significant exhibitions and books produced in the past decade, and the prices paid for photographs have by now lain to rest the old debate about whether photography is a genuine art form. As any serious photographer can attest, producing a photograph that has form, presence, and originality is dauntingly difficult, even though photography seems so easy. Everyone, today, has a camera. Yet, constantly fed with glitzy images from commerce and entertainment that direct our minds along certain well-worn grooves—a challenge for aesthetic education—budding artists require a certain strength of character and imagination to resist the literal and obvious and move toward a more authentic way of seeing. Delany's book shows how someone can defy fashion, as Brandt did for half a century, producing "pictorial" images layered with meaning and mystery. As an aside, despite the intent to show images that simply describe the world, some of the Tate pictures still manage, to my eye at least, to have their own ephemeral expressiveness, and at times great beauty, which raises the question, At what point does a document become a work of art? The Tate approach, with its strict theories, seems to be more interested in legislating than in exploring photographic practice.Biographies can... (shrink)

Muriel Wheldale, a distinguished graduate of Newnham College, Cambridge, was a member of William Bateson's school of genetics at Cambridge University from 1903. Her investigation of flower color inheritance in snapdragons (Antirrhinum), a topic of particular interest to botanists, contributed to establishing Mendelism as a powerful new tool in studying heredity. Her understanding of the genetics of pigment formation led her to do cutting-edge work in biochemistry, culminating in the publication of her landmark work, The Anthocyanin Pigments of Plants (...) (1916). In 1915, she joined Frederick Gowland Hopkin's Department of Biochemistry as assistant and in 1926 became one of the first women to be appointed university lecturer. In 1919 she married the biochemist Huia Onslow, with whom she collaborated until his death in 1922. This paper examines Wheldale's work in genetics and especially focuses on the early linkage of Mendelian methdology with new techniques in biochemistry that eventually led to the founding of biochemical genetics. It highlights significant issues in the early history of women in genetics, including the critical role of mentors, funding opportunities, and career strategies. (shrink)

In this first part of the article, I want to sketch two things. First, I will say something about the idea of free will. The paradoxes involved in this idea often occur to people even before they come to philosophy, and these difficulties will be central to Kant’s account. But second, before turning to Kant, I would like to tackle Aristotle’s broad approach, and show that, before free will was invented by Christian philosophers, there was a quite different way of (...) thinking about moral responsibility – one that has much to teach us. -/- In the second part of the article, to appear in the next issue, I ask why Kant’s account continues to attract many people who would not dream of calling themselves Kantians – indeed, many who have never even heard Kant’s name. Kant’s theory involves a powerful idea of moral worth based on choice. This idea, though problematic because of the idea of freedom it seems to depend on, does account for many of our intuitions about moral responsibility. But it is not the only explanation of these intuitions, nor – I will argue – is it the most plausible. (shrink)

In Between Facts and Norms Jürgen Habermas works out the legal and political implications of his Theory of Communicative Action, bringing to fruition the project announced with his publication of The Structural Transformation of the Public Sphere in 1962. This new work is a major contribution to recent debates on the rule of law and the possibilities of democracy in postindustrial societies, but it is much more.The introduction by William Rehg succinctly captures the special nature of the work, noting (...) that it offers a sweeping, sociologically informed conceptualization of law and basic rights, a normative account of the rule of law and the constitutional state, an attempt to bridge normative and empirical approaches to democracy, and an account of the social context required for democracy. Finally, the work frames and caps these arguments with a bold proposal for a new paradigm of law that goes beyond the dichotomies that have afflicted modern political theory from its inception and that still underlie current controversies between so- called liberals and civic republicans.The book includes a postscript written in 1994, which restates the argument in light of its initial reception, and two appendixes, which cover key developments that preceded the book.Habermas himself was actively involved in the translation, adapting the text as necessary to make it more accessible to English-speaking readers. (shrink)

A major philosophical mind in his day, William Paley wrote in a lucid style that made complex ideas more accessible to a wide readership. This work, first published in 1785, was based on the lectures he gave on moral philosophy at Christ's College, Cambridge. Cited in parliamentary debates and remaining on the syllabus at Cambridge into the twentieth century, it stands as one of the most influential texts to emerge from the Enlightenment period in Britain. An orthodox theologian, grounding (...) his utilitarian ethics in strong religious faith, Paley held notably progressive views on issues of toleration and the slave trade. His perspicuity prompted one contemporary to remark that the book 'presents a subject which has always been considered as harsh and difficult, in the most agreeable and intelligible form … we sit down to be informed of our duty, and are surprised to meet with amusement'. (shrink)

It is well known that the probabilistic relation of confirmation is not transitive in that even if E confirms H1 and H1 confirms H2, E may not confirm H2. In this paper we distinguish four senses of confirmation and examine additional conditions under which confirmation in different senses becomes transitive. We conduct this examination both in the general case where H1 confirms H2 and in the special case where H1 also logically entails H2. Based on these analyses, we argue that (...) the Screening-Off Condition is the most important condition for transitivity in confirmation because of its generality and ease of application. We illustrate our point with the example of Moore’s “proof” of the existence of a material world, where H1 logically entails H2, the Screening-Off Condition holds, and confirmation in all four senses turns out to be transitive. (shrink)

The Perceptual Hypothesis is that we sometimes see, and thereby have non-inferential knowledge of, others' mental features. The Perceptual Hypothesis opposes Inferentialism, which is the view that our knowledge of others' mental features is always inferential. The claim that some mental features are embodied is the claim that some mental features are realised by states or processes that extend beyond the brain. The view I discuss here is that the Perceptual Hypothesis is plausible if, but only if, the mental features (...) it claims we see are suitably embodied. Call this Embodied Perception Theory. I argue that Embodied Perception Theory is false. It doesn't follow that the Perceptual Hypothesis is implausible. The considerations which serve to undermine Embodied Perception Theory serve equally to undermine the motivations for assuming that others' mental lives are always imperceptible. (shrink)

How is a legitimate state possible? Obedience, coercion and intrusion are three ideas that seem inseparable from all government and seem to render state authority presumptively illegitimate. This book exposes three fallacies inspired by these ideas and in doing so challenges assumptions shared by liberals, libertarians, cultural conservatives, moderates and Marxists. In three clear and tightly argued essays William Edmundson dispels these fallacies and shows that living in a just state remains a worthy ideal. This is an important book (...) for all philosophers, political scientists and legal theorists as well as other readers interested in the views of Rawls, Dworkin and Nozick, many of whose central ideas are subjected to rigorous critique. (shrink)

This article defends epiphenomenalism against criticisms raised in Dwayne Moore’s “On Robinson’s Response to the Self-Stultifying Objection”.

In "The Cerebral Code," he has solidly embedded his ideas in experimental neurophysiology and neuropharmacology, deriving from his decades in the laboratory.

The pedagogical technique of the playful Plato, especially his ability to create living discourses that directly address the student, is the subject of Plato the Teacher. “The crisis of the Republic” refers to the decisive moment in his central dialogue when philosopher-readers realize that Plato’s is challenging them to choose justice by going back down into the dangerous Cave of political life for the sake of the greater Good, as both Socrates and Cicero did.

In the nearly half a century since its modern inception (Anscombe (1965), Hintikka (1969)), the Representation theory has faced no more implacable enemy than Ned Block. He has offered objection after objection, usually in the form of apparent counterexamples, and as I write this he shows no sign of flagging.

Each of the five volumes in the Stone Art Theory Institutes series—and the seminars on which they are based—brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, _Beyond the Aesthetic and the Anti-Aesthetic_, focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. (...) The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between aesthetics and anti- or non-aesthetic art. The impasse is made more difficult by the proliferation of identity politics, and it is made less negotiable by the hegemony of anti-aesthetics in academic discourse on art. The central question of this book is whether artists and academicians are free of this choice in practice, in pedagogy, and in theory. The contributors are Stéphanie Benzaquen, J. M. Bern­stein, Karen Busk-Jepsen, Luis Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki, Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys, Beáta Hock, Gordon Hughes, Michael Kelly, Grant Kester, Meredith Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren Ross, Toni Ross, Eva Schürmann, Gregory Sholette, Noah Simblist, Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and Rebecca Zorach. (shrink)

Récurrente sous différentes formes dans le domaine de la lexicométrie, l’analyse cooccurrentielle vise à dévoiler les attractions lexicales qui opèrent dans un texte en restituant un état intermédiaire entre la séquence textuelle et l’inventaire lexical, état qui doit combiner l’explicitation syntagmatique de l’une avec la hiérarchisation statistique de l’autre. Pour dépasser les résultats des méthodes de cooccurrence classiques et identifier des systèmes cooccurrentiels plus complexes à l’oeuvre dans le texte, il s’avère nécessaire de substituer à l’approche analytique des associations lexicales (...) une vue synthétique de ces attractions prééminentes en contexte. (shrink)

Preliminary Material --Foreword /Samuel M. Natale --Acknowledgements /Samuel M. Natale, Brian M. Rothschild, Joseph W. Sora, and Tara M. Madden --Introduction /William O'Neill and Samuel M. Natale --Section I /Samuel M. Natale, Brian M. Rothschild, Joseph W. Sora, and Tara M. Madden --The Working Class Spirituality /Joseph M. McShane --Comparative Christian Perspectives on the Meaning of Work /Joseph W. Ford --Work, Spirituality, and the Moral Point of View /Kenneth E. Goodpaster --Can Christian Ethics Inform Business Practice?: A Typological Road (...) Map and Criteria of Adequacy for an Ethic of Capitalism /David A. Krueger --The American and Catholic Models of Worker Rights: A Comparison and Appraisal /Michael A. Zigarelli --Section II /Samuel M. Natale, Brian M. Rothschild, Joseph W. Sora, and Tara M. Madden --The Work Ethic and Notions of Character in Scottish Education /W. A. Gatherer --The Multidimensionality of Values Conflicts in the Organizational Life /Michel Dion --New Organizational Structures: A Chance for Workers or a New Mode of Control? /Jacques Delcourt --Defining Forces in Work Attitudes: Cultural Values and Economic Environment /Eduardo S. Paderon and Charles F. O'Donnell --The Growing Dilemma of Loyalty to the Firm /John C. SJ. Haughey --Section III /Samuel M. Natale, Brian M. Rothschild, Joseph W. Sora, and Tara M. Madden --Values/Work/Education: Definitions and Context /Lee J. Richmond --Six Questions for Ethical Educational Management /Michael Bottery --Values Education: A More Effective Route to Managerial Competence? /W. M. Robb --The Educative Dimensions of Workplace Democracy /W.J. Toth --Influences on the Value-Mediating Work of Educational Leaders /K.D. Walker --Personal and Social Education in Vocational Preparation /Richard Pring --Contributors /Samuel M. Natale, Brian M. Rothschild, Joseph W. Sora, and Tara M. Madden --Index /Samuel M. Natale, Brian M. Rothschild, Joseph W. Sora, and Tara M. Madden --VIBS /Samuel M. Natale, Brian M. Rothschild, Joseph W. Sora, and Tara M. Madden. (shrink)

This article seeks to develop an under-appreciated aspect of spectator activity: the way in which viewers make use of film to enter or sustain a project of bad faith. Based on Jean-Paul Sartre's account of bad faith in Being and Nothingness (1943), the article explains the aspects of bad faith that are pertinent to viewer activity, then explores the way viewers can make use of filmic depictions to facilitate self-denial. For example, spectators may emphasize the fact that persons are depicted (...) in narrow terms as corroboration for their belief that human nature is just as its depicted, thereby denying that we have the freedom to be otherwise. Or spectators may deny the relevance of problematic aspects of themselves when they find it depicted in characters who are admirable in other ways. I then consider whether films themselves can be described as being in bad faith. While technically they cannot, I identify ways that a film may encourage or discourage bad faith in viewers. I also examine how the immersive aspect of film enables viewers to turn attention away from themselves while they engage in self-denial. The case for this approach to viewer activity and film analysis is supplemented by a distinction between traits that do apply to film, e.g., being racist, sexist, or homophobic, and the resources it gives persons to be in bad faith about these social attitudes. I argue that a film can have traits like these while not encouraging bad faith and vice versa, demonstrating the unique perspective offered by approaching film and spectator activity in terms of bad faith. (shrink)

Of superstition and enthusiasm -- A note on the profession of priest -- Letter to William Mure of Caldwell -- Letter to Gilbert Elliot of Minto -- Of the immortality of the soul -- Of suicide -- Of miracles -- Of a particular providence and of a future state -- The natural history of religion -- Dialogues concerning natural religion.

Pt. I. Writings on the theory of logic: I. Pure logic or the logic of quality apart from quantity. II. The substitution of similars. III. On the mechanical performance of logical inference. IV. On a general system of numerically definite reasoning.--Pt. II. John Stuart Mill's philosophy tested: I. On geometrical reasoning. II. On resemblance. III. The experimental methods. IV. Utilitarianism. V. On the method of difference.

In response to my critics, I argue that Peter van Inwagen, despite his protestations, is an advocate of an indispensability argument for Platonism. What remains to be shown by van Inwagen is that his version of the argument overcomes his own presumption against Platonism and survives defeat by besting every anti-Platonist alternative. While acknowledging Greg Welty’s helpful responses to my worries about divine conceptualism as a realist alternative to Platonism, I express ongoing reservations about some of those responses.

This volume by William J. Webb explores the hermeneutical maze that accompanies any treatment of these three controversial topics and takes a new step toward breaking down walls within the evangelical community related to them.

Now under what circumstances is a conditional true? Even to raise this question is to depart from everyday attitudes. An affirmation of the form ‘if p then q’ is commonly felt less as an affirmation of a conditional than as a conditional affirmation of the consequent…. If, after we have made such an affirmation, the antecedent turns out true, then we consider ourselves committed to the consequent, and are ready to acknowledge error if it proves false. If on the other (...) hand the antecedent turns out to have been false, our conditional affirmation is as if it had never been made. (shrink)

From 1945 on for two decades, Father William Wade was Chairman of the Department of Philosophy at St. Louis University. This volume, a recovery of his own 1935 Ph.D dissertation, was originally written under the direction of Vernon J. Bourke, later himself a renowned interpreter of both St. Augustine and St. Thomas Aquinas. In his dissertation, Wade displays deep understanding of relationships between Greek and medieval thought as well as of the different influences of Plato and Aristotle by way (...) of Augustine and Thomas. (shrink)

A central figure in Victorian science, William Whewell held professorships in Mineralogy and Moral Philosophy at Trinity College, Cambridge, before becoming Master of the college in 1841. His mathematical textbooks, such as A Treatise on Dynamics, were instrumental in bringing French analytical methods into British science. This three-volume history, first published in 1837, is one of Whewell's most famous works. Taking the 'acute, but fruitless, essays of Greek philosophy' as a starting point, it provides a history of the physical (...) sciences that culminates with the mechanics, astronomy, and chemistry of 'modern times'. Volume 1 studies Greek physics and metaphysics, attributing their failure to a method that derived its principles from the common use of language. It surveys the state of the physical sciences in the middle ages, and deals with the rise of 'formal' astronomy - based on observation rather than calculation - as exemplified by Copernicus. (shrink)