A Companion to Phenomenology and Existentialism is a complete guide to two of the dominant movements of philosophy in the twentieth century. Written by a team of leading scholars, including Dagfinn Føllesdal, J. N. Mohanty, Robert Solomon, Jean–Luc Marion Highlights the area of overlap between the two movements Features longer essays discussing each of the main schools of thought, shorter essays introducing prominent themes, and problem–oriented chapters Organised topically, around concepts such as temporality, intentionality, death and nihilism Features essays on (...) unusual subjects, such as medicine, the emotions, artificial intelligence, and environmental philosophy. (shrink)

Science Without Numbers caused a stir in 1980, with its bold nominalist approach to the philosophy of mathematics and science. It has been unavailable for twenty years and is now reissued in a revised edition with a substantial new preface presenting the author's current views and responses to the issues raised in subsequent debate.

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.

This book not only outlines the indispensability argument in considerable detail but also defends it against various challenges.

In this book, Balaguer demonstrates that there are no good arguments for or against mathematical platonism. He does this by establishing that both platonism and anti-platonism are defensible views. Introducing a form of platonism ("full-blooded platonism") that solves all problems traditionally associated with the view, he proceeds to defend anti-platonism (in particular, mathematical fictionalism) against various attacks, most notably the Quine-Putnam indispensability attack. He concludes by arguing that it is not simply that we do not currently have any good argument (...) for or against platonism, but that we could never have such an argument and, indeed, that there is no fact of the matter as to whether platonism is correct. (shrink)

This chapter contains sections titled: Formalism Enhanced Formalism Beyond Formalism.

This book offers a brief, accessible introduction to the thought of Boethius. After a survey of Boethius's life and work, Marenbon explicates his theological method, and devotes separate chapters to his arguments about good and evil, fortune, fate and free will, and the problem of divine foreknowledge. Marenbon also traces Boethius's influence on the work of such thinkers as Aquinas and Duns Scotus.

Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us explore (...) the differences between the arts. He presents five case studies, three from literature, two from music. With its combination of historical and analytic approaches this is a book for a wide range of readers in philosophy, literary studies, music, and non-academic readers with interests in the arts. (shrink)

In this concise survey, intended for advanced undergraduate students of aesthetics, Alan Goldman focuses on the question of aesthetic value, using many practical examples from painting, music, and literature to make his case. Although he treats a wide variety of views, he argues for a nonrealist view of aesthetic value, showing that the personal element can never be factored out of evaluative aesthetic judgments and explaining why this is so.

Recasting important questions about truth and objectivity in new and helpful terms, his book will become a focus in the contemporary debates over realism, and ...

In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...

Beauty is an important part of our lives. Ugliness too. It is no surprise then that philosophers since antiquity have been interested in our experiences of and judgments about beauty and ugliness. They have tried to understand the nature of these experiences and judgments, and they have also wanted to know whether these experiences and judgments were legitimate. Both these projects took a sharpened form in the twentieth century, when this part of our lives came under a sustained attack in (...) both European and American intellectual circles. Much of the discourse about beauty since the Eighteenth century had deployed a notion of the ‘aesthetic’, and so that notion in particular came in for criticism. This disdain for the aesthetic may have roots in a broader cultural Puritanism, which fears the connection between the aesthetic and pleasure. Even to suggest, in the recent climate, that an artwork might be good because it is pleasurable, as opposed to cognitively, morally or politically beneficial, is to court derision. The twentieth century has not been kind to the notions of beauty or the aesthetic. Nevertheless, some thinkers — philosophers, as well as others in the study of particular arts — have persisted in thinking about beauty and the aesthetic in a traditional way. In the first part of this essay, I look at the particular rich account of judgments of beauty given to us by Immanuel Kant. The notion of a ‘judgment of taste’ is central to Kant's account and also to virtually everyone working in traditional aesthetics; so I begin by examining Kant's characterisation of the judgment of taste. In the second part, I look at the issues that twentieth century thinkers have raised. I end by drawing on Kant's accout of the judgement of taste to consider whether the notion of the aesthetic is viable. (shrink)

It has been observed that whereas painters and musicians are likely to be embarrassed by references to the beauty in their work, mathematicians instead like to engage in discussions of the beauty of mathematics. Professional artists are more likely to stress the technical rather than the aesthetic aspects of their work. Mathematicians, instead, are fond of passing judgment on the beauty of their favored pieces of mathematics. Even a cursory observation shows that the characteristics of mathematical beauty are at variance (...) with those of artistic beauty. For example, courses in art appreciation are fairly common; it is however unthinkable to find any mathematical beauty appreciation courses taught anywhere. The purpose of the present paper is to try to uncover the sense of the term beauty as it is currently used by mathematicians. (shrink)

In this article I give a naturalistic-cum-formal analysis of therelation between beauty, empirical success, and truth. The analysis is based on the onehand on a hypothetical variant of the so-called `mere-exposure effect'' which has been more orless established in experimental psychology regarding exposure-affect relationshipsin general and aesthetic appreciation in particular (Zajonc 1968; Temme 1983; Bornstein 1989;Ye 2000). On the other hand it is based on the formal theory of truthlikeness andtruth approximation as presented in my From Instrumentalism to Constructive Realism (...) (2000).The analysis supports the findings of James McAllister in his beautifulBeauty and Revolution in Science (1996), by explaining and justifying them.First, scientists are essentially right in regarding aesthetic criteria useful for empiricalprogress and even for truth approximation, provided they conceive of them as less hard thanempirical criteria. Second, the aesthetic criteria of the time, the `aesthetic canon'', maywell be based on `aesthetic induction'' regarding nonempirical features of paradigms of successfultheories which scientists have come to appreciate as beautiful. Third, aestheticcriteria can play a crucial, schismatic role in scientific revolutions. Since they may well be wrong, they may, in the hands of aesthetic conservatives, retard empirical progress and hence truth approximation, but this does not happen in the hands of aesthetically flexible, `revolutionary'' scientists. We may find totallyopposite things beautiful: a simplemathematical principle as well as a series of unrepeatable complex contingencies. It is a matter of psychology.(Stephen Jay Gould, translated passage from (Kayzer 2000, 30)). (shrink)

Linking the process of rational decision making to emotions, an award-winning scientist who has done extensive research with brain-damaged patients notes the dependence of thought processes on feelings and the body's survival-oriented regulators. 50,000 first printing.

What are 'emotions'? This book offers a balanced survey of facts and theory.

This book does three main things. First, it defends mathematical platonism against the main objections to that view (most notably, the epistemological objection and the multiple-reductions objection). Second, it defends anti-platonism (in particular, fictionalism) against the main objections to that view (most notably, the Quine-Putnam indispensability objection and the objection from objectivity). Third, it argues that there is no fact of the matter whether abstract mathematical objects exist and, hence, no fact of the matter whether platonism or anti-platonism is true.

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

THE SENSE OF BEAUTY: A FIRST APPROXIMATION It is generally acknowledged that during the first half of the eighteenth century a profound change was wrought in the theory of art and natural beauty. To this period we owe the establishment of the modem system of the arts. 1 In England, the notion of a separate and autonomous disci pline devoted solely to art and to beauty came into being through the concept of "aesthetic disinterestedness. " 2 In addition, emphasis in (...) the theory of art shifted from object to subject - from the work of art to the perceiver and critic. Focal point for this change was the sense of beauty which, in concert with the moral sense of the British school, represented a dominant force in Enlightenment value theory. It is Francis Hutcheson who, more than anyone else, can be thought of as the founder and principal spokesman of this philosophical coterie. If the aesthetic sense was instrumental in the transfer of interest, in the philosophy of art, from object to perceiver, the aesthetic and moral senses together were no less important in a parallel transference of value judgment from the rational to the sensate. (shrink)

I shall discuss several related issues about beauty. These are: (1) The place of beauty among other aesthetic properties. (2) The general principle of aesthetic supervenience. (3) The problem of aesthetic relevance. (4) The distinction between free and dependent beauty. (5) The primacy of our appreciation of free beauty over our appreciation of dependent beauty. (6) Personal beauty as a species of beauty. (7) The metaphysics of beauty.

Surprisingly, modified versions of the confirmation theory (Carnap and Hempel) and truth approximation theory (Popper) turn out to be smoothly sythesizable. The glue between the two appears to be the instrumentalist methodology, rather than that of the falsificationalist. The instrumentalist methodology, used in the separate, comparative evaluation of theories in terms of their successes and problems (hence, even if already falsified), provides in theory and practice the straight road to short-term empirical progress in science ( à la Laudan). It is (...) also argued that such progress is also functional for all kinds of truth approximation: observational, referential, and theoretical. This sheds new light on the long-term dynamics of science and hence on the relation between the main epistemological positions, viz., instrumentalism (Toulmin, Laudan), constructive empiricism (Van Fraassen), referential realism (Hacking, Cartwright), and theory realism of a non-essentialist nature (constructive realism à la Popper). Readership: Open minded philosophers and scientists. The book explains and justifies the scientist's intuition that the debate among philosophers about instrumentalism and realism has almost no practical consequences. (shrink)

Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...) are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...

The new key -- Symbolic transformation -- The logic of signs and symbols -- Discursive and presentational forms -- Language -- Life-symbols : the roots of sacrament -- Life-symbols : the roots of myth -- On significance in music -- The genesis of artistic import -- The fabric of meaning.

James Gow's A Short History of Greek Mathematics provided the first full account of the subject available in English, and it today remains a clear and thorough guide to early arithmetic and geometry. Beginning with the origins of the numerical system and proceeding through the theorems of Pythagoras, Euclid, Archimedes and many others, the Short History offers in-depth analysis and useful translations of individual texts as well as a broad historical overview of the development of mathematics. Parts I and II (...) concern Greek arithmetic, including the origin of alphabetic numerals and the nomenclature for operations; Part III constitutes a complete history of Greek geometry, from its earliest precursors in Egypt and Babylon through to the innovations of the Ionic, Sophistic, and Academic schools and their followers. Particular attention is given to Pythagorus, Euclid, Archimedes, and Ptolemy, but a host of lesser-known thinkers receive deserved attention as well. (shrink)

Aside from the Principia and occasional appearances of the Opticks , Newton' writings have remained largely inaccessible to students of philosophy, science, and literature as well as to other readers. This book provides a remedy with wide representation of the interests, problems, and diverse philosophic issues that preoccupied the greatest scientific mind of the seventeenth century. Grouped in sections corresponding to methods, principles, and theological considerations, these selections feature explanatory notes and cross-references to related essays.

The paper argues that an important class of aesthetic terms cannot be used as metaphors because it is impossible to commit a category mistake with them. It then uses this fact to provide a general definition of 'aesthetic property'.