This paper attempts to show how Adorno’s thought can illuminate our reflections on the future of work. It does so by situating Adorno’s conception of genuine activity in relation to his negativist critical epistemology and his subtle account of the distinction between true and false needs. What emerges is an understanding of work that can guide our aspirations for the future of work, and one we illustrate via discussions of creative work and care work. These are types of work which (...) cater to persistent human needs, albeit ones that are distorted under present social conditions. Adorno’s thought helps us to understand why this is the case. (shrink)

Given his view that the modern world is ‘radically evil’, Adorno is an unlikely contributor to business ethics. Despite this, we argue that his work has a number of provocative implications for the field that warrant wider attention. Adorno regards our social world as damaged, unfree, and false and we draw on this critique to outline why the achievement of good work is so rare in contemporary society, focusing in particular on the ethical demands of roles and the ideological nature (...) of management’s self-understanding. Nevertheless, we show that Adorno’s comments on activities such as art and philosophy mean that it is possible to draw on his work in a way that contributes constructively to the conversation about good and meaningful work within business ethics. (shrink)

Naive observers viewed a sequence of colored Mondrian patterns, simulated on a color monitor. Each pattern was presented twice in succession, first under one daylight illuminant with a correlated color temperature of either 16,000 or 4,000 K and then under the other, to test for color constancy. The observers compared the central square of the pattern across illuminants, either rating it for sameness of material appearance or sameness of hue and saturation or judging an objective property—that is, whether its change (...) of color originated from a change in material or only from a change in illumination. Average color constancy indices were high for material appearance ratings and binary judgments of origin and low for hue–saturation ratings. Individuals’ performance varied, but judgments of material and of hue and saturation remained demarcated. Observers seem able to separate phenomenal percepts from their ontological projections of mental appearance onto physical phenomena; thus, even when a chromatic change alters perceived hue and saturation, observers can reliably infer the cause, the constancy of the underlying surface spectral reflectance. (shrink)

In this article I present an original interpretation of Roy Bhaskar’s project in Dialectic: The Pulse of Freedom. His major move is to separate an ontological dialectic from a critical dialectic, which in Hegel are laminated together. The ontological dialectic, which in Hegel is the self-unfolding of spirit, becomes a realist and relational philosophical anthropology. The critical dialectic, which in Hegel is confined to retracing the steps of spirit, now becomes an active force, dialectical critique, which interposes into the ontological (...) dialectic at the ‘fourth dimension’ of a naturalistically reconfigured account of relational human nature, agency. This account allows Bhaskar to explain and vindicate the crucial role social criticism must play in any realistic project of self-emancipation, and to create a space that didn’t exist in Hegel for an open-ended concrete utopianism. Freedom is thus the actualization of human nature, but is not automatic: the relation of human nature to freedom is mediated historically through dialectical critique, which, informed by concrete utopianism, can have emancipatory power. Content Type Journal Article Category Article Pages 13-44 Authors Craig Reeves, Brunel University Journal Journal of Critical Realism Online ISSN 1572-5138 Print ISSN 1476-7430 Journal Volume Volume 12 Journal Issue Volume 12, Number 1 / 2013. (shrink)

This paper aims to demonstrate the contemporary relevance of Adorno’s thought for business ethicists working in the critical tradition by showing how his critique of modern social life anticipated, and offers continuing illumination of, recent technological transformations of capitalism. It develops and extrapolates Adorno’s thought regarding three central spheres of modern society, which have seen radical changes in light of recent technological developments: work, in which employee monitoring has become ever more sophisticated and intrusive; leisure consumption, in which the algorithmic (...) developments of the culture industry have paved the way for entertainment products to dominate us; and political discourse, in which social media has exacerbated the anti-democratic tendencies Adorno warned of in the mid-twentieth century. We conclude by presenting, as a rejoinder to these developments, the contours of an Adornian ethics of resistance to the reification and dehumanisation of such developments. (shrink)

How should international law figure into the practical reasoning of agents who fall under its jurisdiction? How should the existence of an international legal norm regulating some activity affect a subject’s decision-making about that activity? This is a question concerning the general moral authority of international law. It concerns not simply the kind of authority international law claims, but the character of the authority it actually has. An authority, as I will use the term, is moral obligation producing: if x (...) (e.g., a person, institution, or law) has authority over an agent, then the directives of x produce a significant reason for the agent to comply with the terms of the directive. This paper concerns the sense in which international law, and the law of nascent legal systems generally, generate moral obligations for their subjects, i.e., for those who fall under their claimed jurisdiction. (shrink)

In this essay, I want to explore the possibility that the success of narrative in stimulating empathy comes from the relation that narrative bears to emotion—where emotion is a kind of proto-narrative that possibly accounts for the structure and range of narratives themselves —and that our familiarity with emotions as micro-narratives results in the motivation of narrative. That is, the resolution of events occurs in terms of feeling rather than other forms of closure, since other forms of closure represent literal (...) endings as, quite simply, the cessation of events whereas emotion achieves its end by being felt or translated in empathetic terms and in ways that endure beyond the formality of the fictive event that ends the narrative. I will be using Kim Scott’s Benang: From the Heart (1999) and Peter Carey’s Jack Maggs (1997) to discuss narrative and emotions, or the role of emotion in motivating narrative events and the role of narrative in conveying and stirring emotion in the reader. (shrink)

Narrated in the first person, Peter Carey’s novel about the life of Australian bushranger Ned Kelly incorporates other aspects of speech derived both from Carey’s personal experience and from the editorial process. Kelly's voice is toned down to some extent by virtue of the latter, introducing expressions Kelly himself would not have used. Identifying these elements, along with the specific attributes of Kelly’s own speech, enjoins a diversity of cultural and social groupings that intersect and, in some instances, compete with (...) or contradict one another. Shifts in speakers might be signalled by textual markers or by adopting different expressive qualities and speech patterns, which may or may not include a change in grammatical person. In this novel, at one instance, a shift in person is apparent, but I want to argue, not necessarily a shift in the identity of the speaker because, although the grammatical voice shifts, its qualitative features are largely unaltered. The shift nonetheless introduces a significant change. Paradoxically, as far as literary theory is concerned, the subjective qualities produced through voice mean that stylisations of speech may be indicative of character point of view, rather than what is understood to be narrative voice, because they might function in narrative as inflections of speech that do not correspond to the established voice of the grammatically instanced speaker—offering a focalised perspective instead. The shift in True History presents problems in these terms, however: the point of view instanced here is clearly that belonging to the speaker, though the voice is Kelly’s, for the narrator’s point of view determines the generality of the descriptive terms where once these were specific and personal. Had the novel been narrated wholly in third person, an unproblematic reading of Kelly’s point of view, suggested by the use of his voice, would be possible. But the shift undermines this—Kelly’s point of view gives way to another, instanced in the shift that takes place in narrative voice. Carey, in other words, inverts the convention. This is not an instance of free indirect style or discourse, where grammatical mood is at odds with the speaker’s position and tenses align with the implicated subject position of another. The same features of voice that might identify character point of view must, in absence of any disparity of mood or tone, function in respect to narrative voice to convey something of its speaker’s subjectivity, and this seems apparent here: the speaker shares Kelly’s subjective emotional and intellectual perspective, but no longer occupies the subject position. Carey’s voicing of the bushranger therefore complicates distinctions between voice and point of view by revealing qualitative features of voice to be important to the question of who is speaking the narrative. (shrink)

Using hokku poet Basho’s aesthetics of wandering, as defined by Thomas Heyd, I argue that, by detailing the excruciating pointlessness of work undertaken according to commands that take little or no account of their feasibility, Richard Flanagan’s novel, The Narrow Road to the Deep North (which takes its title from Basho's work) transforms the features of this aesthetics into the lived experience of prisoners of war on the ‘line’. In doing so, Flanagan transfers Basho’s aesthetics into a represented actuality through (...) the privileging of subjectivity over identity and the dissolution of the body on the line. The three prongs to Basho’s aesthetics are found in Flanagan’s novel. In this, Flanagan is identifying the complexity of meanings evident in the terminology of such aesthetics, rendering what appears positive in the context of Basho’s poetry negative in its practical application as this is articulated through the prisoners’ wartime experiences. Rather than being formative, Flanagan’s novel suggests wartime experience has a complexly ‘opposite’ effect. This is apparent in the complications of identity represented in post-war terms as a disunity (rather than a coherent unity), as articulated through the use of spatial metaphors that reverse the formative intensities of subjectivity and body through symbolic acts of dispersal and dissolution. (shrink)

In Eichmann in Jerusalem , Hannah Arendt struggled to defend the possibility of judgment against the obvious problems encountered in attempts to offer legally valid and morally meaningful judgments of those who had committed crimes in morally bankrupt communities. Following Norrie, this article argues that Arendt’s conclusions in Eichmann are equivocal and incoherent. Exploring her perspectival theory of judgment, the article suggests that Arendt remains trapped within certain Kantian assumptions in her philosophy of history, and as such sees the question (...) of freedom in a binary way. The article argues that Adorno’s philosophy of freedom provides the resources to diagnose and overcome Arendt’s shortcomings. Adorno’s position provides a way of embracing the antinomical character of judgment, by emphasising the need for elements of reason and nature in the phenomenon of freedom. In Adorno’s lights, judgment becomes an attempt to express a ‘spirit of solidarity’ with the tragic status of the potentially free but actually unfree subject of modernity. (shrink)

The paper addresses the nature of duties grounded in human rights. Rather than being protections against harm, per se, I contend that human rights largely shield against risk impositions to protected interests. “Risk imposition” is a normative idea requiring explication, but understanding dutiful action in its terms enables human rights to provide prospective policy guidance, hold institutions accountable, operate in non-ideal circumstances, embody impartiality among persons, and define the moral status of agencies in international relations. Slightly differently, I indicate a (...) general understanding of dutiful action that permits human rights to see to the tasks of an institutional morality. (shrink)

This interdisciplinary approach to the semiotics of emotion offers insights on emotion as a semantic category organising an array of feelings, thoughts and sensations into meaningful (communicable) terms. This is achieved via an exploration of the role of perspective-taking in making meanings that are felt rather than expressly articulated through words. Forming a semiotic system based on embodied experiences and their contexts, emotions, as semantic categories, are the first stage in processes of expression and communication. I lay the groundwork for (...) an interdisciplinary semiotics of emotion in accordance with findings and stances taken in the fields of literary and cultural studies, neuroscience, and cognitive and comparative psychology. Narrative empathy (sometimes called narrative emotion), like emotion per se, stands upon processes of communication involving the interpretive capacities of feeling, cognitive processes of identification, and perspective-taking. Feeling, beginning as an interpretation of sensorial and neurologically driven values, intensifies through the cognitive-affectual interpretative processes of perspective-taking. With recursive (multi-perspectival) feeling resulting in intensifications of feeling we recognise as emotion, I define emotion as a complex recursive pattern of feeling and affect that calls attention to itself in terms that are readily identifiable with semantic categories such as love, hate, shame, sadness, and anger. (shrink)

Jaakko Nevasto has offered a number of thoughtful criticisms of our attempt to show that Adorno’s work can fruitfully be brought to bear on topics in business ethics. After welcoming his constructive clarifications, we attempt to defuse Nevasto’s main objections and defend our application of Adorno, focusing in particular on the topics of moral epistemology, needs, and the possibility of genuine activity – and thus good work – within capitalist society.

This article gives a brief history of chance in the Christian tradition, from casting lots in the Hebrew Bible to the discovery of laws of chance in the modern period. I first discuss the deep-seated skepticism towards chance in Christian thought, as shown in the work of Augustine, Aquinas, and Calvin. The article then describes the revolution in our understanding of chance—when contemporary concepts such as probability and risk emerged—that occurred a century after Calvin. The modern ability to quantify chance (...) has transformed ideas about the universe and human nature, separating Christians today from their predecessors, but has received little attention by Christian historians and theologians. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

Demonstrating that a developing norm is not yet well established in international law is frequently thought to show that states are not bound by the norm as law. More precisely, showing that a purported international legal norm has only limited support from well-established international legal sources is normally seen as sufficient to rebut an obligation on the part of subjects to comply with the norm in virtue of its legal status. I contend that this view is mistaken. Nascent norms of (...) international law (e.g., crystallizing norms of customary law) can be binding in much the same way as better-established doctrine. This point becomes perspicuous, I argue, once we get a clear sense of the plausible options for grounding the moral authority of international law generally. -/- This result is interesting in its own right, but it also reveals two other features of the character of state responsibility under international law. First, the distinction between legislation and compliance is less pronounced compared to domestic law. Consequently, the virtues of good governance will frequently be pertinent to determining the content of states’ obligations under international law. Second, normally more powerful and influential agents will be more strongly bound by international law than other subjects. This is an attractive result, addressing a concern that motivates many international lawyers to view international law as absolutely binding. An absolutist view international legal authority is unnecessary for showing that the most powerful and dangerous states are strongly bound by the terms of much existing law. (shrink)

It has been widely believed since the nineteenth century that modern science provides a serious challenge to religion, but less agreement as to the reason. One main complication is that whenever there has been broad consensus for a scientific theory that challenges traditional religious doctrines, one finds religious believers endorsing the theory or even formulating it. As a result, atheists who argue for the incompatibility of science and religion often go beyond the religious implications of individual scientific theories, arguing that (...) the sciences taken together provide a comprehensive challenge to religious belief. Scientific theories, on this view, can be integrated to form a general vision of humans and our place in nature, one that excludes the existence of supernatural phenomena to which many religious traditions refer. The most common name given to this general vision is the scientific worldview. The purpose of my paper is to argue that the relation of a worldview to science is more complex and ambiguous than this position allows, drawing upon recent work in the history and philosophy of science. While there are other ways to complicate the picture, this paper will focus on differing views that scientists and philosophers have on the proper scope and limits of scientific inquiry. I will identify two different types of science—Baconian and Cartesian—that have different ambitions with respect to scientific theories, and thus different answers about the possibility of a scientific worldview. The paper will conclude by showing how their differing intuitions about scientific inquiry are evident in contemporary debates about reductionism, drawing upon the work of two physicists, Steven Weinberg and John Polkinghorne. History is more complex than this simple schema allows, of course, but these types provide a useful first approximation into the ambiguities of modern science. (shrink)

The paper considers the proper method for theorizing about criminal jurisdiction. It challenges a received understanding of how to substantiate the right to punish, and articulates an alternative account of how that theoretical task is properly conducted. The received view says that a special relationship is the ground of a tribunal’s authority to prosecute and, hence, that a normative theory of that authority is faced with identifying a distinctive relation. The alternative account locates prosecutorial standing on an institution’s capacity to (...) address the basic reasons generating criminal liability. This reframes the normative issues at stake, and has the result that various, perhaps quite heterogeneous, considerations can substantiate penal authority. It also eliminates the existence of a special relation as a necessary condition for legitimate criminal accountability. The argument proceeds by offering an analysis and account of universal jurisdiction. Not only does the alternative elegantly perform where the received view struggles, it can accommodate much of what motivates the pursuit of relational ties in existing efforts to vindicate jurisdictional conclusions. (shrink)

In this chapter, I explore my affective engagement with Charlotte Wood’s The Weekend (2019). Adopting definitions that reveal the nested hierarchies of feeling, affect, and emotion, I situate emotion as a semantic experience within the framework of thought, arguing that thought itself is an affectual process that carries meaning. Cognition, in other words, is an affective process. Thought’s affectual status is often overlooked, however, with the focus on its semantic content drawing attention from this; yet meaning affects us, and this (...) is the function of thought as affect: it organises experience in ways that are, in turn, affecting. My approach to Wood’s novel aims to emphasise this and find firmer ground on which to perceive emotion as a kind of thought, noting that reading stimulates thinking in terms of grammatically established points of view. (shrink)

In this paper I argue that Theodor W. Adorno 's philosophy of freedom needs an ontological picture of the world. Adorno does not make his view of natural order explicit, but I suggest it could be neither the chaotic nor the strictly determined ontological images common to idealism and positivism, and that it would have to make intelligible the possibility both of human freedom and of critical social science. I consider two possible candidates, Nancy Cartwright 's ‘patchwork of laws’, and (...) Roy Bhaskar 's critical realism. Arguing that Cartwright 's position conflicts with the spirit of Adorno 's philosophy, I suggest that Bhaskar 's realism is compatible with and to a significant extent implicit in Adorno 's position. Whilst Adorno is clearly not a critical realist, Bhaskar 's position does provide the best overall account of the ontological commitments of Adorno 's critical theory. It becomes possible in turn to locate Bhaskar 's arguments in a broader critical tradition and give fuller expression to the concerns that structure his work, in particular by locating the epistemic fallacy in the narrative account of the natural history of subjective reason and its tendency towards ‘identity thinking ’. The discussion goes on to consider the interdependence of reason, nature and freedom in the idea of emancipatory critique, confirming the deeper affinities between critical realism and critical theory. (shrink)

We show that true colors as defined by Chevreul (1839) produce unsuspected simultaneous brightness induction effects on their immediate grey backgrounds when these are placed on a darker (black) general background surrounding two spatially separated configurations. Assimilation and apparent contrast may occur in one and the same stimulus display. We examined the possible link between these effects and the perceived depth of the color patterns which induce them as a function of their luminance contrast. Patterns of square-shaped inducers of a (...) single color (red, green, blue, yellow, or grey) were placed on background fields of a lighter and a darker grey, presented on a darker screen. Inducers were always darker on one side of the display and brighter on the other in a given trial. The intensity of the grey backgrounds varied between trials only. This permitted generating four inducer luminance contrasts, presented in random order, for each color. Background fields were either spatially separated or consisted of a single grey field on the black screen. Experiments were run under three environmental conditions: dark-adaptation, daylight, and rod-saturation after exposure to bright light. In a first task, we measured probabilities of contrast, assimilation, and no effect in a three-alternative forced-choice procedure (background appears brighter on the ‘left’, on the ‘right’ or the ‘same’). Visual adaptation and inducer contrast had no significant influence on the induction effects produced by colored inducers. Achromatic inducers produced significantly stronger contrast effects after dark-adaptation, and significantly stronger assimilation in daylight conditions. Grouping two backgrounds into a single one was found to significantly decrease probabilities of apparent contrast. Under the same conditions, we measured probabilities of the inducers to be perceived as nearer to the observer inducers. These, as predicted by Chevreul’s law of contrast, were determined by the luminance contrast of the inducers only, with significantly higher probabilities of brighter inducers to be seen as nearer, and a marked asymmetry between effects produced by inducers of opposite sign. Implications of these findings for theories which attempt to link simultaneous induction effects to the relative depth of object surfaces in the visual field are discussed. (shrink)

Poorly saturated colors are closer to a pure grey than strongly saturated ones and, therefore, appear less “colorful”. Color saturation is effectively manipulated in the visual arts for balancing conflicting sensations and moods and for inducing the perception of relative distance in the pictorial plane. While perceptual science has proven quite clearly that the luminance contrast of any hue acts as a self-sufficient cue to relative depth in visual images, the role of color saturation in such figure-ground organization has remained (...) unclear. We presented configurations of colored inducers on grey ‘test’ backgrounds to human observers. Luminance and saturation of the inducers was uniform on each trial, but varied across trials. We ran two separate experimental tasks. In the relative background brightness task, perceptual judgments indicated whether the apparent brightness of the grey test background contrasted with, assimilated to, or appeared equal (no effect) to that of a comparison background with the same luminance contrast. Contrast polarity and its interaction with color saturation affected response proportions for contrast, assimilation and no effect. In the figure-ground task, perceptual judgments indicated whether the inducers appeared to lie in front of, behind, or in the same depth with the background. Strongly saturated inducers produced significantly larger proportions of foreground effects indicating that these inducers stand out as figure against the background. Weakly saturated inducers produced significantly larger proportions of background effects, indicating that these inducers are perceived as lying behind the backgrounds. We infer that color saturation modulates figure-ground organization, both directly by determining relative inducer depth, and indirectly, and in interaction with contrast polarity, by affecting apparent background brightness. The results point towards a hitherto undocumented functional role of color saturation in the genesis of form, and in particular figure-ground percepts in the absence of chromatostereopsis. (shrink)

The laws which predict how the perceptual quality of figure-ground can be extracted from the most elementary visual signals were discovered by the Gestaltists, and form an essential part of their movement (see especially Metzger, 1930, and Wertheimer, 1923 translated and re-edited by Lothar Spillmann, 2009 and 2012, respectively). Distinguishing figure from ground is a prerequisite for perception of both form and space (the relative positions, trajectories, and distances of objects in the visual field. The human brain has an astonishing (...) capacity for selecting and combining a few critical visual signals to accurately represent both form and space. (shrink)

Entry on Work in M. N. S. Sellars & S. Kirste (Eds.), The Springer Encyclopedia of the Philosophy of Law and Social Philosophy. Springer.

Victor Vasarely's (1906–1997) important legacy to the study of human perception is brought to the forefront and discussed. A large part of his impressive work conveys the appearance of striking three-dimensional shapes and structures in a large-scale pictorial plane. Current perception science explains such effects by invoking brain mechanisms for the processing of monocular (2D) depth cues. Here in this study, we illustrate and explain local effects of 2D color and contrast cues on the perceptual organization in terms of figure-ground (...) assignments, i.e. which local surfaces are likely to be seen as “nearer” or “bigger” in the image plane. Paired configurations are embedded in a larger, structurally ambivalent pictorial context inspired by some of Vasarely's creations. The figure-ground effects these configurations produce reveal a significant correlation between perceptual solutions for “nearer” and “bigger” when other geometric depth cues are missing. In consistency with previous findings on similar, albeit simpler visual displays, a specific color may compete with luminance contrast to resolve the planar ambiguity of a complex pattern context at a critical point in the hierarchical resolution of figure-ground uncertainty. The potential role of color temperature in this process is brought forward here. Vasarely intuitively understood and successfully exploited the subtle context effects accounted for in this paper, well before empirical investigation had set out to study and explain them in terms of information processing by the visual brain. (shrink)

Action, Contemplation, and Happiness (hereafter ACH) is a magisterial expo­sition of both central and obscure texts from throughout Aristotle's writings that aims to elucidate the terms in its title by showing their foundations in Aristotle's natural and metaphysical writings. Reeve assembles supportive texts from throughout the corpus in support of an interpretive holism, viz., one in which the various interpretations of a text are narrowed by drawing upon other texts in the corpus that shed light on the passage. Although holism (...) is not necessarily incon­sistent with developmental readings of Aristotle, Reeve at least initially claims that the texts he is concerned with provide little evidence of development. Reeve's current volume draws upon his previous books, Substantial Knowledge (Indianapolis: Hackett, 2000), a holistic study of the problem of primary sub­stance in the Metaphysics, and his Practices of Reason (Oxford: Clarendon Uni­versity Press, 1992), a study of the epistemological bases of happiness 'in the Nicomachean Ethics. (shrink)

This is an excellent translation of Aristotle's De Anima or On the Soul, part of C.D.C. Reeve's impressive ongoing project of translating Aristotle's works for the New Hackett Aristotle. Reeve's translation is careful and accurate, committed to faithfully rendering Aristotle into English while making him as readable as possible. This edition features excellent notes that will greatly assist readers (especially in their inclusion of related passages that illuminate the sections they annotate) and an introduction that situates the work within Aristotle's (...) scientific method and his overall view of reality. (shrink)

The issue of climate change poses an important problem that requires immediate collaboration from everyone, including individuals, governments, and businesses. While consumption culture constitutes a significant proportion of greenhouse gas emissions, most of these emissions are caused by the consumption of the wealthiest. In this article, we will explore the challenges that consumer culture has exacerbated regarding climate change and propose that transitioning to a simpler and more sustainable lifestyle could be an effective solution in the fight against climate change. (...) Such transitions can be leveraged through the inspiration of celebrities (e.g., Keanu Reeves, Chow Yun-fat, Kristen Bell, Leonardo DiCaprio) that pursue simple, non-glamorous lifestyles that do not promote excessive consumerism. (shrink)

Most models of generational succession in sexually reproducing populations necessarily move back and forth between genic and genotypic spaces. We show that transitions between and within these spaces are usually hidden by unstated assumptions about processes in these spaces. We also examine a widely endorsed claim regarding the mathematical equivalence of kin-, group-, individual-, and allelic-selection models made by Lee Dugatkin and Kern Reeve. We show that the claimed mathematical equivalence of the models does not hold. *Received January 2007; revised (...) April 2008. †To contact the authors, please write to: Elisabeth Lloyd, Department of History and Philosophy of Science, 130 Goodbody Hall, Indiana University, Bloomington, IN 47405; e-mail: [email protected]; Richard Lewontin, Department of Organismic and Evolutionary Biology, Harvard University, 26 Oxford Street, Cambridge, MA 02138; Marcus Feldman, Department of Biological Sciences, Stanford University, Stanford, CA 94305; e-mail: [email protected]. (shrink)

Indian Philosophy has reached across the globe. It is popular for its practical way towards life. Study of Indian philosophy should be part of all streams of education. Film is effective tool of communication. It attracts all generations and makes strong impression in the mind. Film is always considered as an effective tool in Pedagogy. Philosophy deals with abstract concepts, their correlation and logical reasoning. It deals with the complex problem of reality. People have notion that philosophy is a dry (...) and theoretical subject. Students can understand complex philosophical ideas if they are demonstrated through films. There are films based on biographies of philosophers, life picture of great people, incidences in life of philosophers. But it can attract only limited number of audience. Some popular Hollywood films have amalgamation of science fiction, super natural elements, fantastic story guided by some philosophical principles. Such films attract audience from different strata. Viewer is totally captivated by extra ordinary super natural and fictional elements in the film. As a result, certain philosophical principles are taught to audience without their conscious effort. (Kantāsammita upadeśa) Teaching philosophy with the means of such films can be definitely effective tool in Pedagogy. Such practise will not only create liking for Indian Philosophy but will result in effective understanding of complex ideas. It can create awareness that Indian Philosophy is embraced across the globe, there are no boundaries for philosophical deliberations and there are certain common threads in different philosophical schools. Paper will take example of popular movie ‘Matrix’ to explain the principles of Advaita Vedānta. The Matrix is a 1999 science fiction film written and directed by The Wachowskis, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe Pantoliano. It states the journey of hero of the film ‘Neo’ who is aspiring for reality. He is struggling between illusory world and the real world which is presented through the means of science fiction. This paper will analyse Matrix from the perspective of Advaita Vedānta. Māyā projects the illusory world (vikṣepa) in place of Brahman (āvaraṇa). Film portrays digital world as illusory world. One sees this world as real due to limitations of body, mind and intellect. Neo goes to the real world and realises his true nature. True reality is beyond senses and sense objects (atindrīya). Concepts of Advaita Vedānta can be explained with this film. Such movies can be shown to students along with Vedanta discourses. Paper will explore ‘Film and Philosophy’ as an effective pedagogical model. (shrink)

The question of whether lies by those who govern are acceptable receives a clear focus and an ideal case in the Republic. Against C. D. C. Reeve, and T. C. Brickhouse and N. D Smith, I argue that the Republic’s apparent recommendation of administrative lies is incoherent. While lies may be a necessary part of the City’s administration, the process and practice of lying undermines that nature which is necessary for any suitable ruler – rendering the ideal impossible. I argue (...) that this analysis, while concerned with an ideal case, also applies to the political realist’s regrettable-but-necessary defence of such practices. (shrink)