Time and narratice technique compared. Two novelists, Heliodorus, 3rd century author of the novel Aethiopica and Sigrid Combüchen, contemporary Swedish novelist using a dystopian Europe around 2050 as a scenic setting. In both stories girls and women are captured and killed by soldiers. Both narrators are external to the story being told, presented in the past tense. But Combüchen´s narrator adopts it as a confession, and a turning point in his career as a commanding general, characterized by"double-bind".

Modern, Stevie In a dark uniform, she walks swiftly through the tram carriage, her movements machine-like and efficient. Wordlessly, she punches passengers' tickets and passes money from the coin-changer strapped to her hip. The passengers pay small attention, their gazes vaguely forward. They do not see the face of evil, the anonymous official who stands above them returning their ticket stub. The tram clatters on through Berlin's streets.

Modern, Stevie In the movie Exodus set in 1947, Paul Newman plays a Jewish 'people smuggler' Ari Ben Canaan in an amusing early scene where he disguises himself as a British soldier. Ben Canaan fools a commanding officer into signing off on the transport of recent holocaust survivors out of detention in Cyprus, making the officer believe the survivors would be shipped back to Germany.

Modern, Stevie The appearance of Ayn Rand's 'lost' novel Ideal, 80 years after it was written, gives us cause to examine the life and works of the humanist author, playwright and philosopher.

Modern, Stevie March 15, 2016: A 19 year-old American tourist is arrested in Jerusalem. Police authorities had found him asleep in a prohibited cave area, deep under the Muslim quarter of the Old City. A search finds his backpack loaded with rubble dug with a pickaxe, at a site where myth tells of lost religious treasure. The tourist claims no memory of his actions. Israeli media reports the story as a possible case of 'Jerusalem Syndrome' - a religiously themed (...) psychosis. The syndrome affects nearly 100 people each year out of millions of tourists who visit Jerusalem. (shrink)

Modern, Stevie At its annual general meeting in May this year, the Council of Australian Humanist Societies voted in support of volunteer ethics teachers entering public schools and teaching ethics programs to students as a secular alternative in religious education. The motion was put to the meeting by the NSW Society with the support of the Humanist Society of Victoria. The motion was opposed by the Queensland, Western Australian and South Australian Societies. Here is why the motion is a (...) grave mistake, and why Western Australia moved its own motion against it. (shrink)

Modern, Stevie The September 11 Memorial Museum at Ground Zero opened in May this year, nearly 13 years from the date when 2,983 people were murdered by Islamist hijackers. It is 20 years from Al Qaida's first attempt to bomb the World Trade Center in 1993.

The Modern Synthesis has dominated biology for 80 years. It was formulated in 1942, a decade before the major achievements of molecular biology, including the Double Helix and the Central Dogma. When first formulated in the 1950s these discoveries and concepts seemed initially to completely justify the central genetic assumptions of the Modern Synthesis. The Double Helix provided the basis for highly accurate DNA replication, while the Central Dogma was viewed as supporting the Weismann Barrier, so excluding the (...) inheritance of acquired characteristics. This article examines the language of the Modern Synthesis and reveals that it is based on four important misinterpretations of what molecular biology had shown, so forming the basis of the four Illusions: 1. Natural Selection; 2. The Weismann Barrier; 3. The Rejection of Darwin’s Gemmules; 4. The Central Dogma. A multi-level organisation view of biology avoids these illusions through the principle of biological relativity. Molecular biology does not therefore confirm the assumptions of the Modern Synthesis. (shrink)

This paper argues that there was considerably more philosophy of action in moral theory before 1958 (when Anscombe complained of its lack under the banner 'philosophy of psychology') than there has been since. This is in part because Anscombe influenced the formation of 'virtue theory' as yet another position within normative ethics, and her work contributed to the fashioning of 'moral psychology' as an altogether distinct (and now increasingly empirical) branch of moral philosophy.

Translated from the author's unpublished manuscript. Includes bibliographical references and index.

In Studies on Early Modern Aristotelianism Paul Richard Blum shows that Aristotle’s thought remained the touchstone of modern philosophy; for it was the philosophy taught at universities. The concept of philosophy at Jesuit schools forms the first part of this book. Their impact on the sciences and mathematics in combination with Renaissance ideas of nature is the topic of the second part. The transformation of Aristotelian metaphysics and theology under the influence of the Renaissance is the third area (...) of this book. Surprising continuity from the late Middle Ages into modernity and the radical difference of subject centered modern philosophy from ‘teachable’ school philosophy are innovative in these studies. (shrink)

This book is concerned with the history of metaphysics since Descartes. Taking as its definition of metaphysics 'the most general attempt to make sense of things', it charts the evolution of this enterprise through various competing conceptions of its possibility, scope, and limits. The book is divided into three parts, dealing respectively with the early modern period, the late modern period in the analytic tradition, and the late modern period in non-analytic traditions. In its unusually wide range, (...) A. W. Moore's study refutes the tired old cliché that there is some unbridgeable gulf between analytic philosophy and philosophy of other kinds. It also advances its own distinctive and compelling conception of what metaphysics is and why it matters. Moore explores how metaphysics can help us to cope with continually changing demands on our humanity by making sense of things in ways that are radically new. (shrink)

In recent years, there has been renewed interest in Pyrrhonism among both philosophers and historians of philosophy. This skeptical tradition is complex and multifaceted, since the Pyrrhonian arguments have been put into the service of different enterprises or been approached in relation to interests which are quite distinct. The diversity of conceptions and uses of Pyrrhonism accounts for the diversity of the challenges it is deemed to pose and of the attempts to meet them. The present volume brings together twelve (...) essays by leading specialists which explore the history and philosophical significance of this form of skepticism: they discuss some thorny questions concerning ancient Pyrrhonism, explore its influence on certain modern thinkers, and examine it in relation to contemporary analytic philosophy. The essays combine historical and exegetical analysis with an assessment of the philosophical merits of the Pyrrhonian outlook, with the aim of understanding it both in its historical context and in connection with contemporary concerns. This volume, the first entirely devoted to a detailed study of the Pyrrhonian tradition, is intended to open up new exegetical and philosophical perspectives on Pyrrhonism and to motivate further examination of certain difficult issues. It will be a valuable resource for scholars of ancient philosophy, historians of modern philosophy, and epistemologists, as well as for graduate students interested in skepticism. (shrink)

Influenced by recent neuroscientific research, the author proposes that the cognition underlying creativity should be seen as a sequential process requiring the appropriate interspersing of both intuitive and analytical modes of thought. Each of these modes may concern itself with either identifying the information that is the focus of potentially creative cognition or with the creative perspective from which to view the information. Here, perspective refers to the salience of various elements of the information set, of which some elements might (...) be seen as crucially important to a creative treatment of the situation, while other pieces of information may appear as merely contextually relevant. (shrink)

Andrew Bowie's book is the first introduction in English to present F W J Schelling as a major European philospher in his own right. _Schelling and Modern European Philosophy_, surveys the whole of Schelling's philosophical career, lucidly reconstructing his key arguments, particularly those against Hegel, and relating them to contemporary philosophical discussion. Dr Bowie traces how central ideas and conceptual strategies in the work of philosophers as diverse as Nietzsche, Heidegger, Derrida and Davidson relate closely to Schelling's often misunderstood (...) philosophy and focuses on Schelling's work as an alternative to, and critique of aspects of Hegel's thinking. (shrink)

Paul Oskar Kristeller famously argued that the modern ‘ system of the arts ’ did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts : poetry, painting, music, sculpture, (...) and dance. Writers from the sixteenth century on adopted the ancient conception of the imitative arts and anticipated the views of Batteux by 200 years. Batteux simply popularized the rubric ‘fine arts ’. (shrink)

Provides a thorough background study of the postmodern assault on the standpoint of the subject as a foundation for philosophy, and assesses what remains today of the philosophy of subjectivity.

Much social theory takes for granted the core conceit of modern culture, that modern actors-individuals, organizations, nation states-are autochthonous and natural entities, no longer really embedded in culture. Accordingly, while there is much abstract metatheory about "actors" and their "agency," there is arguably little theory about the topic. This article offers direct arguments about how the modern (European, now global) cultural system constructs the modern actor as an authorized agent for various interests via an ongoing relocation (...) into society of agency originally located in transcendental authority or in natural forces environing the social system. We see this authorized agentic capability as an essential feature of what modern theory and culture call an "actor," and one that, when analyzed, helps greatly in explaining a number of otherwise anomalous or little analyzed features of modern individuals, organizations, and states. These features include their isomorphism and standardization, their internal decoupling, their extraordinarily complex structuration, and their capacity for prolific collective action. (shrink)

This chapter discusses central strands of the modern social contract tradition. Distinguishing between moral and political theories on the one hand and contractualist and contractarian theories on the other, it presents one example of each of the ensuing categories: Gauthier’s moral contractarianism, Buchanan’s political contractarianism, Scanlon’s moral contractualism, and Rawls’ political contractualism. In the conclusion, strengths and weaknesses of social contract theories are discussed.

This book, the result of 40 years of Hegel research, gives an integral interpretation of G.W.F. Hegel's mature practical philosophy as contained in his textbook, Grundlinien der Philosophie des Rechts, published in 1820, and the courses he gave on the same subject between 1817 and 1830.

Modern Philosophy, the third volume in the history of philosophy series edited by Etienne Gilson, is a comprehensive critical study of philosophical thought from Descartes to Kant. Containing detailed discussions of individual figures, both major and minor, it treats not only their metaphysical and epistemological views but also their philosophies of art, religion, morals, and politics. It presents the historical settings in which they wrote and shows the dialectical interplay among their views. As Gilson and Langan point out, there (...) inevitably is some arbitrariness in deciding what to include or emphasize in a volume such as this, but, in my opinion, it would be difficult to give a more balanced and complete survey than theirs. (shrink)

Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more (...) properly as ‘modernist’, to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art. (shrink)