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Added by: Veronica CibotaruAbstract:
In a recent article, “Logical Consequence and Natural Language”, Michael Glanzberg claims that there is no relation of logical consequence in natural language (2015). The present paper counters that claim. I shall discuss Glanzberg’s arguments and show why they don’t hold. I further show how Glanzberg’s claims may be used to rather support the existence of logical consequence in natural language.
Comment: This text is useful for intermediate to advanced students in logic and philosophy of language who are interested in the debate over whether natural language reflects logical consequence, but it is also accessible for beginning students.
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Added by: Rebecca BuxtonAbstract:
From the Publisher: The history of philosophy has not done women justice: you’ve probably heard the names Plato, Kant, Nietzsche and Locke – but what about Hypatia, Arendt, Oluwole and Young? The Philosopher Queens is a long-awaited book about the lives and works of women in philosophy by women in philosophy. This collection brings to centre stage twenty prominent women whose ideas have had a profound – but for the most part uncredited – impact on the world. You’ll learn about Ban Zhao, the first woman historian in ancient Chinese history; Angela Davis, perhaps the most iconic symbol of the American Black Power Movement; Azizah Y. al-Hibri, known for examining the intersection of Islamic law and gender equality; and many more. For anyone who has wondered where the women philosophers are, or anyone curious about the history of ideas – it's time to meet the philosopher queens.
Comment (from this Blueprint): In this chapter, Salami offers some very useful historical background on Nigeria's pre-colonial past and Yoruba thought. This helps us understand Oluwole's situation as an African philosopher born in colonial Nigeria and influenced by Western philosophy, as well as a staunch defender of Yoruba oral genres and African philosophy as a whole. Salami also notes that Oluwole is one of the rare philosophers to have been influential and admired within and without the academy.
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Added by: Petronella RandellPublisher’s Note:
Many people (both philosophers and not) find it very natural to think that deceiving someone in a way that avoids lying — by merely misleading — is morally preferable to simply lying. Others think this preference is deeply misguided. But all sides agree that there is a distinction. In this book, I undertake a close examination of the lying/misleading distinction. First, I use this very intuitive distinction to shed new light on entrenched debates in philosophy of language over notions like what is said. Next, I tackle the puzzling but widespread moral preference for misleading over lying, arriving at a new view regarding the moral significance of the distinction. Finally, I bring all this together in an examination of historically important and interesting cases, ranging from modern politicians to early Jesuits.
Comment: Useful for philosophy of language or ethics course as a core text on the lying/misleading distinction. Could also be used to draw out the importance of defining what is said in philosophy of language.
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Added by: Simon FoktAbstract: This examination of the concept “work of art” has been prompted by the desire to find a starting point for aesthetic inquiry which, to begin with at any rate, will arouse no dispute. A claim for general agreement such as Clive Bell's: “The starting point for all systems of aesthetics must be the personal experience of a pecular emotion”, is countered by I. A. Richards's “the phantom aesthetic state”, and any attempt to claim “beauty” as the central concept is straightway confused by the varied contexts in which “beauty” and “beautiful” may function. We hear much more often of a beautiful stroke in cricket than in painting, and many of our moral judgments have an aesthetic flavour. An action may be bold, dashing, mean, underhanded, unimaginative, cringing, fine, as well as right or wrong. Aesthetic adjectives and adverbs may occur in any context, and part of our job is to separate out the various uses and establish their inter-relationships.Comment: The text is written in an approachable and somewhat digressive narrative, which makes it a pleasant read, but might require the lecturer to provide the students with some reading guidance. The classificatory account proposed by Saw is rather general – discussing it might be instructive in helping the students understand what sort of conditions are likely to be successful in a definition. The claim which can inspire most class discussion concerns the distinction between the qualities of works which make them art in the classificatory sense, from the qualities which are subject of appraisal.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: I want to suggest that the notion of the suspension of disbelief cannot coherently be used to explain or account for our reactions to fictional characters and events, and that in any case it is unnecessary to the solution of the alleged paradox. I take fiction here to cover art works in which a story is told, presented or represented, i.e. novels, short stories, plays, certain kinds of painting and sculpture and dance-any works in fact is connection with which it makes sense to speak of characters appearing and events taking place in them.
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Added by: Fenner Stanley TanswellAbstract:
Marjorie Jeuck Rice, a most unlikely mathematician, died on 2 July 2017 at the age of 94. She was born on 16 February 1923 in St. Petersburg, Florida, and raised on a tiny farm near Roseburg in southern Oregon. There she attended a one-room country school, and there her scientific interests were awakened and nourished by two excellent teachers who recognized her talent. She later wrote, ‘Arithmetic was easy and I liked to discover the reasons behind the methods we used.… I was interested in the colors, patterns, and designs of nature and dreamed of becoming an artist’?Comment (from this Blueprint): Easwaran discusses the case of Marjorie Rice, an amateur mathematician who discovered new pentagon tilings. This obituary by Schattschneider gives some details of her life and the discovery.
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Added by: Rie IizukaAbstract: This article examines the narrative approach to self found in philosophy and related disciplines. The strongest versions of the narrative approach hold that both a person's sense of self and a person's life are narrative in structure, and this is called the hermeneutical narrative theory. This article provides a provisional picture of the content of the narrative approach and considers some important objections that have been raised to the narrative approach. It defends the view that the self constitutes itself in narrative and argues for something less than the hermeneutical view insofar as the narrative is less agency-oriented and without an overarching thematic unity.Comment: This chapter offers a good introduction to the concept of narrative self. It surveys a few different types of narrative self, and covers some representative objections. The article would be perfect in classes focusing on different concepts of self, and on personal identity in general.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: One of the least controversial aspects of the highly provocative project that was early conceptual art was its wholesale rejection of the modernist paradigm. For artists adhering to the conceptual approach, modernism's loyalty to the notions of beauty, aesthetic sensation, and pleasing form, represented a commitment to obsolete artistic axioms.' Art, it was argued, should be purged of expressivist or emotivist aims; it was to '[free] itself of aesthetic parameters' and embrace an altogether different ontological platform. On this line, a conceptual artwork was taken to be 'a piece: and a piece need not be an aesthetic object, or even an object at all' (Binkley 1977: 265). In contrast to modernism, then, conceptual art set itself, from its very beginning, a distinctively analytic agenda by proposing to revise the kind of thing an artwork can be in order to qualify as such, and pronouncing aesthetics 'conceptually irrelevant to art' (Kosuth 1969). It is in view of this that conceptual art, to use the words of some of its most prominent exponents, can be understood as 'Modernism's nervous breakdown' (Art - Language 1997).
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Abstract: Few philosophical debates seem to allow for as little theoretical disparity as that on the subject of Realism or Anti-Realism. That the two antithetical positions uphold the broad structure of a dichotomy may come as no surprise: the question under scrutiny is, after all, one about whether the world and its contents are autonomous of our minds, or whether the world and its contents simply cannot be said to exist independently of our perception and understanding of them. There does not, in other words, seem to be much leeway between the two stances, at least partly because what they capture is a deeply entrenched conceptual divide over what does and does not exist. How, one may ask, could some thing exist but a little?
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Added by: Giada FratantonioSummary: In this paper, the author presents the so-called capacity view, namely, the view that "that perceptual states are systematically linked to what they are of in the good case, that is, the case of a successful perception, and thereby provide evidence for what they are of in the good case". The author discusses the main committments of the view and the implications it has when it comes to the justification of our beliefs and the transparency of our mental states.Comment: Good as further reading for a postgraduate course on epistemology of percpetion.