That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.

The twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic 'Categories of Art' is included, as is 'Transparent Pictures', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added (...) to several of the reprinted essays. (shrink)

Sports and competitive games of many kinds—from tag to chess to baseball—are often occasions for make-believe. To participate either as a competitor or as a spectator is frequently to engage in pretense. The activities of playing and watching games have this in common with appreciating works of fiction and participating in children’s make-believe activities, although the make-believe in sports, masked by real interests and concerns, is less obvious than it is in the other cases. What is most interesting about tag (...) and chess and baseball, however, are the ways in which the make-believe they involve differs from other varieties. (shrink)

It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.

My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...) as photographs there will be not stopping short of absurdity. The examples fail in their purpose, but they will help to clarify the reasons for the transparency of photographs. Several of them can be disposed of by noting that they jeopardize the transparency of photographs only if they jeopardize the very possibility of perception. The others appear to reflect a misconception of the issue before us and the nature of my claim.To perceive something is, in part, to have perceptual experiences caused by the object in question. This is scarcely controversial. It is also uncontroversial that additional restrictions are needed—not all causes of one’s visual experiences are objects of sight—although exactly what the required restrictions are is a notoriously tricky question. One important restriction is that the causation must be appropriately independent of human action , in a sense which I explained . This, I argued, is what distinguishes photographs from “handmade” pictures, which are not transparent. Seismographs and footprints are caused just as “mechanically” as ordinary photographs are. So are photographs that are so badly exposed or focused that they fail to present images of the objects before the camera. So, also, are the visual experiences of those who look at seismograms, footprints, and such badly focused or exposed photographs. Yet we obviously do not see the causes of these things through them, Martin claims. How is it, then, that we see through ordinary photographs? Kendall L. Walton is professor of philosophy at the University of Michigan and author of a book on representation in the arts . His previous contribution to Critical Inquiry, “Transparent Pictures: On the Nature of Photographic Realism,” appeared in the December 1984 issue. (shrink)

It is tempting to assume that understatement and overstatement, meiosis and hyperbole, are analogous figures of speech, differing only in whether the speaker represents a quantity as larger, or as smaller, than she means to claim that it is. But these tropes have hugely different roles in conversation. Understatement is akin to irony, perhaps a species of it. Overstatement is an entirely different kettle of fish. Things get interestingly messy when we notice that to overstate how large or expensive or (...) distant something is, is to understate how small or inexpensive or close it is, and vice versa. So it may seem, anyway. I propose an account of the two tropes that counts some utterances, in their conversational contexts, as overstatements of a quantity but not understatements of the opposite quantity, and other utterances as understatements only. This account shows why understatement is closely related to irony and overstatement is not. Although overstatement and understatement (or irony) are very different, they are sometimes combined. An understatement of one quantity may be an overstatement of a different one. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of die (...) style of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

Realist theories about fictional entities must explain the fact that, in ordinary contexts people deny, apparently in all seriousness, that there are such things as the Big Bad Wolf and Santa Claus. The usual explanation treats these denials as involving restricted quantification: The speaker is said to be denying only that the Big Bad Wolf and Santa Claus are to be found among real or actual things, not that there are no such things at all. This is unconvincing. The denials (...) may just as naturally be phrased as “The Big Bad Wolf and Santa Claus don't exist”, and claims of nonexistence seem not to admit of interpretations corresponding to statements of restricted quantification. Ordinary denials of the existence of fictional entities constitute a severe difficulty for realist theories. (shrink)

The reader's access to the fictional world of a novel is mediated by the narrator, when there is one; the fictional world is presented from the narrator's perspective. do depictions ever have anything comparable to narrators? apparent artists sometimes have a certain perspective on the fictional world. but they don't mediate our access to it; the fictional world is presented independently of their perspective on it. depictions do present fictional worlds from certain perspectives, but not usually the perspectives of any (...) fictional characters. however, there are characters in some special depictions, especially certain films, who function very much like narrators. (shrink)

Realist theories about fictional entities must explain the fact that, in ordinary contexts people deny, apparently in all seriousness, that there are such things as the Big Bad Wolf and Santa Claus. The usual explanation treats these denials as involving restricted quantification: The speaker is said to be denying only that the Big Bad Wolf and Santa Claus are to be found among real or actual things, not that there are no such things at all. This is unconvincing. The denials (...) may just as naturally be phrased as “The Big Bad Wolf and Santa Claus don't exist”, and claims of nonexistence seem not to admit of interpretations corresponding to statements of restricted quantification. Ordinary denials of the existence of fictional entities constitute a severe difficulty for realist theories. (shrink)

The representational arts seem friendly territory for “symbol” theories of aesthetics. Much of the initial resistance one may feel to the idea that a Mondrian composition or a Scarlatti sonata is a symbol evaporates when we switch to a portrait of Mozart, Michelangelo’s Pietá, or Dickens’s A Tale of Two Cities. These representational works have reference to things outside themselves. The portrait is a picture of Mozart; the Pietá is a sculpture of Christ and his Mother; A Tale of Two (...) Cities is about London, Paris, and the French Revolution. It is natural enough to consider the relation between these works and what they are of or about a semantic one. And if the representational is to be understood in terms of this semantic relation it is reasonable to hold that to be representational is to be a symbol of a certain kind. (shrink)

Prop oriented make-believe is make-believe utilized for the purpose of understanding what I call “props,” actual objects or states of affairs that make propositions “fictional,” true in the make-believe world. I, David Hills, and others have claimed that prop oriented make-believe lies at the heart of the functioning of many metaphors, and one variety of fictionalism in metaphysics invokes prop oriented make-believe to explain away apparent references to entities some find questionable or problematic (fictional characters, propositions, moral properties, numbers). Elisabeth (...) Camp has argued against my and David Hills’ views of metaphor. Her arguments, many of them echoed by Catharine Wearing, demolish a very implausible account of metaphor, but leave entirely untouched the views that Hills and I actually proposed. Clarifying what we say about metaphor serves also as a defense of fictionalist theories that invoke prop oriented make-believe. (shrink)

In nelson goodman's "languages of art" a symbol system must be 'finitely differentiated', both syntactically and semantically, to count as a 'notation'. goodman's formulations of these differentiation requirements are seriously defective. it is shown that most of the examples of systems which he claims fail these requirements, do not fail them as they are stated. reformulations of the two requirements are offered, which accord with the examples and seem otherwise acceptable.

The replicon hypothesis, first proposed in 1963 by Jacob and Brenner(1), states that DNA replication is controlled at sites called origins. Replication origins have been well studied in prokaryotes. However, the study of eukaryotic chromosomal origins has lagged behind, because until recently there has been no method for reliably determining the identity and location of origins from eukaryotic chromosomes. Here, we review a technique we developed with the yeast Saccharomyces cerevisiae that allows both the mapping of replication origins and an (...) assessment of their activity. Two‐dimensional agarose gel electrophoresis and Southern hybridization with total genomic DNA are used to determine whether a particular restriction fragment acquires the branched structure diagnostic of replication initiation. The technique has been used to localize origins in yeast chromosomes and assess their initiation efficiency. In some cases, origin activation is dependent upon the surrounding context. The technique is also being applied to a variety of eukaryotic organisms. (shrink)

We provide a retrospective of 25 years of the International Conference on AI and Law, which was first held in 1987. Fifty papers have been selected from the thirteen conferences and each of them is described in a short subsection individually written by one of the 24 authors. These subsections attempt to place the paper discussed in the context of the development of AI and Law, while often offering some personal reactions and reflections. As a whole, the subsections build into (...) a history of the last quarter century of the field, and provide some insights into where it has come from, where it is now, and where it might go. (shrink)

This paper uses argumentation tools such as argument diagrams and argumentation schemes to analyze four examples of argument from analogy, and argues that to proceed from there to evaluating these arguments, features of the context of dialogue need to be taken into account. The evidence drawn from these examples is taken to support a pragmatic approach to studying argument from analogy, meaning that identifying the logical form of the argument by building an argument diagram of the premises and conclusion is (...) not by itself sufficient for argument evaluation. To get further, it is argued, the argument evaluator needs to take into account how this particular argument was used in context to support a conversational goal.Cet article utilise des outils d'argumentation tels que des diagrammes d'argument et des schèmes d'argumentation pour analyser trois exemples d'argument par analogie, et soutient que pour évaluer ces arguments de manière adéquate, il est nécessaire de tenir compte du contexte d'utilisation de l'argument. Ces exemples suggèrent que l’étude des arguments par analogie à partir de seulement l’identification de leur forme logique n'est pas adéquate. Pour aller plus loin, on avance que l'analyste d'argument doit prendre en compte comment un argument particulier a été utilisé dans un contexte pour soutenir un but conversationnel. (shrink)

After Husserl and Heidegger, phenomenology has attempted to push the reduction beyond the reference of objects to the performances effected by consciousness, or of beings to Being. First, a new level of the reduction comes forth in M. Henry's radical reduction of appearing to the appearing of appearing, and leads to the disclosure of a dimension in which no horizons are to be fulfilled because the superabundance of life holds sway. Secondly, according to H. Rombach, the phenomena decribed in the (...) first two levels are nothing but epiphenomena, and must be explained in terms of structures that emerge in a creative development. Reality brings forth something from itself, and we must take advantage of this contribution in order to obtain more than what is anticipated in our projects. Thirdly, J.-L. Marion advances a theory on saturated phenomena in order to account for phenomena that surpass the bounds outlined for them in the mere significational intentions because they show a surplus of intuition. The three trends lead respectively to an originary phenomenality, an outbreak of phenomena, and saturated phenomena. The article contends that they tend to come together because they link the third level of phenomenology to a reflection that turns on the duality between what appears and its appearing, and, in doing so, disclose a surplus with regard to three different aspects of the duality, i.e., appearing as such, the overall condition of what appears, or the appearing of some preeminent phenomena. Finally, some anticipations of these trends in Husserl's transcendental phenomenology are shown.Luego de Husserl y Heidegger, la fenomenología ha intentado llevar la reducción más allá de la referencia de los objetos a las operaciones efectuadas por la conciencia o de los entes al ser. En primer lugar, un nuevo nivel de reducción se manifiesta en la reducción radical propuesta por M. Henry para retroceder del aparecer al aparecer del aparecer, y conduce al descubrimiento de una dimensión en que no hay horizontes que puedan ser plenificados porque impera la sobreabundancia del la vida. En segundo lugar, según H. Rombach, los fenómenos descritos en los dos primeros niveles no son otra cosa que epifenómenos y tienen que ser explicados en términos de estructuras que emergen en un desarrollo creador. La realidad produce algo a partir de sí misma, y esta contribución debe ser aprovechada a fin de alcanzar más de lo anticipado en nuestros proyectos. En tercer lugar, J.-L. Marion presenta una teoría sobre los fenómenos saturados a fin de dar cuenta de aquellos casos que exceden los límites que les han sido delineados en las intenciones significativas vacías porque muestran una demasía de intuición. Las tres tendencias conducen respectivamente a una fenomenalidad originaria, a un estallido del fenómeno y a una saturación del fenómeno. El artículo sostiene que tienden a converger porque vinculan el tercer nivel de la fenomenología con una reflexión en torno de la dualidad entre lo que aparece y su aparecer, y que, al hacerlo, ponen de manifiesto una excedencia respecto de tres aspectos distintos de la dualidad, esto es, el aparecer en cuanto tal, la condición general de lo que aparece o la aparición de algunos fenómenos preeminentes. Finalmente, se indican algunas anticipaciones de estas tendencias en la fenomenología trascendental de Husserl. (shrink)

Can an omnipotent being create a stone too heavy for him to lift? If not, he is not omnipotent. But if so, he is not omnipotent either, since there is something he cannot lift. Hence there can be no omnipotent being. J.L. Cowan's recent reformulation of this paradox of omnipotence has been sharpened through a number of objections and clarifications, and, in its final form, constitutes a significant problem for the analysis of the concept of an omnipotent agent. I will (...) develop fragments of two systems in which the problem can be defined more exactly, and try to indicate some formal guidelines within which constructive steps towards a solution may be possible. I will argue that the paradox shows the need for a special kind of restriction on omnipotence that can be distinguished from some related restrictions. (shrink)

https://revistes.uab.cat/enrahonar/article/view/v57-walton.

Este artículo procura establecer lo rasgos distintivos de los tres estadios de la reducción erótica formulada por J.-L. Marion en contraste con la reducción epistémica al cogito y la reducción ontológica al ser. En primer lugar, en la búsqueda de una seguridad que involucra al otro, la autocerteza del cogito es reemplazada por la pregunta: "¿se me ama de otra-parte?". En segundo lugar, como esta pregunta no puede ser respondida recurriendo al amor a sí mismo, se impone una formulación radicalizada: (...) "¿puedo amar, yo el primero?". Este nuevo estadio da lugar al análisis de fenómenos en que cada participante da al otro lo que no tiene de suyo y al mismo tiempo tiene a su disposición solo para ofrecerlo al otro, esto es, el significado, la carne, el juramento, el gozo, la fidelidad, y el adiós=a Dios. En tercer lugar, puesto que esta lógica del amor muestra la prioridad del otro, se presenta la formulación final de la reducción erótica: "¡Tú, tú has amado el primero!". Marion sostiene que, a través de esta precedencia, se revela el amor de Dios. Una apreciación final de las contribuciones de Marion esboza superposiciones y contrastes con otras posiciones fenomenológicas. This article sets out to establish the distinctive traits of the three stages of the erotic reduction advanced by J.-L. Marion in contrast to the epistemic reduction to the cogito and the ontological reduction to Being. First, in the search for an assurance involving the other, the self-certainty of the cogito is replaced by the question "¿Am I loved from elsewhere?". Second, as the question cannot be answered by the way of self-love, a radicalized formulation must be given: "¿Can I love as the first one?" This new stage brings forth the analysis of phenomena in which each partner gives the other what he does not have on his own and at the same time has at his disposal only to offer it to the other, i.e., meaning, flesh, pledge, joy, faithfulness, and good-by=God be with you. Third, as this logic of love discloses the priority of the other, a final formulation of the reduction is afforded: "¡You, you have loved as the first one!" Marion contends that, through this precedence, God's love is revealed. A final assessment of Marion's contributions outlines overlappings and contrasts with other phenomenological positions. (shrink)

Les séjours d’étude à l’étranger se sont développés après la Seconde Guerre mondiale. Plus que d’autres formes de voyage, ils permettent aux jeunes adultes de s’immerger dans la culture et le quotidien d’un autre pays. Les jeunes femmes américaines qui ont étudié en France entre la fin des années 1940 et les années 1960 ont été marquées par les stéréotypes de genre et les pratiques sociales et sexuelles auxquels elles ont été confrontées. S’appuyant sur des entretiens oraux avec d’anciennes étudiantes (...) et sur des lettres envoyées alors aux familles, cet article examine la manière dont ces Américaines ont négocié les différences culturelles, pour évaluer certains aspects de la culture française et se forger une identité individuelle plus indépendante et plus assurée. (shrink)

Les séjours d’étude à l’étranger se sont développés après la Seconde Guerre mondiale. Plus que d’autres formes de voyage, ils permettent aux jeunes adultes de s’immerger dans la culture et le quotidien d’un autre pays. Les jeunes femmes américaines qui ont étudié en France entre la fin des années 1940 et les années 1960 ont été marquées par les stéréotypes de genre et les pratiques sociales et sexuelles auxquels elles ont été confrontées. S’appuyant sur des entretiens oraux avec d’anciennes étudiantes (...) et sur des lettres envoyées alors aux familles, cet article examine la manière dont ces Américaines ont négocié les différences culturelles, pour évaluer certains aspects de la culture française et se forger une identité individuelle plus indépendante et plus assurée. (shrink)

Chater & Loewenstein (C&L) ignore the long history by which social scientists have developed more nuanced and ultimately more helpful ways to understand the relationship between persons and situations. This tradition is reflected and advanced in a large literature on “wise” social–psychological or mindset interventions, which C&L do not discuss yet mischaracterize.

Unlike many major figures in Western intellectual history, Hobbes has refused to become dated and quietly take his appointed place in the museum of historical scholarship. Whether by way of adoption or reaction, his ideas have remained vibrant forces in mankind's attempts to understand the problems and dilemmas of living peaceably with one another. As Richard Ashcraft said a few years ago: One of the standards by which the greatness of political theorists is measured, is their ability to evoke in (...) us new insights into 'the human condition'. Only a few political writers have risen Dionysus-like from the titanic assaults of their critics to become even more formidable forces in the shaping of our destiny. One of these giants is surely the irascible l and irrepressible Thomas Hobbes . Given the power of Hobbes's thought, it is not then perhaps surprising to find that his writings have generated seemingly endless scholarly controversy and an astonishing range of imcompatible interpretations. Among other things, he has been interpreted as a theist and an atheist, as a utilitarian and a deontologist, a humanist and a scientist, as a traditional natural law theorist and a legal positivist, a contractualist and an absolutist - indeed, as Professor Morris notes in his contribution to the present volume, 'as almost any kind of philosophical 'ist except Platonist or Aristotelist'. (shrink)

Axiological foundations of free speach. Belandria, Margarita y González R., Javier Voluntad, ausencias, y normas: el sustrato histórico del positivismo en el derecho. Will, absences and norms: the historical background of positivism in law. Carpintero Benítez, Francisco Nominalismo jurídico, escolástica española y tradición republicana. Juridical nominalism, spanish scholasticism and republican tradition. Casanova Guerra, Carlos El primer principio de la razón práctica en la teoría de la ley natural de John Finnis. The first principle of practical reason in John Finnis´s natural (...) law theory. Hocevar G., Mayda G. El derecho a una educación integral de calidad, ¿utopía o posibilidad?. The right to an integral education of quality: utopia or possibility?. López de Cordero, Mery La muerte de la imagen. The death of the image. Peña, Edilio Karl Jaspers: autorreflexión y "existenzerhellung". Karl jaspers: self-reflection and "existenzerhellung". Portuondo Pajón, Gladys L. Derechos humanos y positivismo moderado. Human rights and temperated positivism. Ramos Pascua, José Antonio De la libertad y sus apariencias. On liberty and its appearances. Ramis Muscato, Pompeyo Pensamiento y vida: la "guía" zambraniana. Thought and life: zambrano's "guide" Rivara Kamaji, Greta Interdisciplinares Las mujeres en la ciencia de la salud. Women in the health sciences. Alcaraz Ariza, María Ángeles Cultura arquitectónica y crisis de la contemporaneidad. Architectural culture and crisis of the contemporary. Arellano Spinetti, Leonardo Recensiones Homenaje al filósofo venezolano Alberto Rosales. Walton, Roberto Informaciones Índice acumulado. (shrink)

El artículo comienza con una breve referencia a la introducción de la fenomenología de Merleau-Ponty en la Argentina. Se consideran primero las contribuciones de Luis M. Ravagnan y Carlos L. Ceriotto para pasar luego a un examen de las referencias efectuadas por Luis Juan Guerrero en su _Estética_. En relación con la estética de las manifestaciones artísticas se pone énfasis en la noción merleau-pontyana de lenguaje indirecto y en la significación de las voces del silencio. En lo que concierne a (...) la estética de las potencias artísticas se pone el acento en la experiencia no-objetiva de convivencia en la comprensión mutua, a fin de dar cuenta de la respuesta del artista al llamado de la tradición cultural y de la respuesta del espectador al llamado de la obra de arte. Finalmente, respecto del problema de las tareas artísticas, la atención se focaliza en el análisis que Guerrero, nuevamente siguiendo a Merleau-Ponty, ofrece sobre las fiestas cuyo rasgo distintivo es ser el gran juego de pueblos históricos y el lugar originario de reunión de todas sus tareas artísticas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 177 Amsterdam, appears in the series of the International Archives of the History of Ideas, published under the direction of P. Dibon of Nijmegen and R. Popkin of the University of California at San Diego and a distinguished international editorial committee. Other volumes demonstrate the philosophical respectability of the collection: three on Descartes and Cartesianism, one on Berkeley's immaterialism, three on Pierre Bayle, the rest on philosophical (...) topics from the Renaissance to the 19th century. In this gallery, these letters by a not very good French poet---who was yet an acute and rather individualistic judge of men and books, already one of the arbiters of intellectual and artistic life in France--may seem a little out of place. Yet, to many historians of intellectual affairs, the firm establishment of dates and personal relationships is a matter of much importance, and documents such as these, largely devoted as they are to the communication of news about books and writers, the activities of rulers and ambassadors, printers and curious travelers, can be a substantial aid in determining the structure of an historical moment, the succession and interrelationship of events. One is willing to grant that much of what Chapelain wrote to Heinsius is trivial and concerns books and literary news of slight importance, that a delicate irony makes less of some of his comments than they were worth at the time. The triviality itself is a clue to the temper of Paris during the Fronde and in the late years of the regency of Mazarin. Great ideas were not being discussed in public when Pascal was writing his Pensdes; the irony is a mode of defense against involvement, and fashionable at the time. Bray's elaborate introduction is more concerned with the artistic and subjective aspect of the letters than with their contribution to intellectual history. In about a hundred pages, he discusses his author's method of writing, the genre which this kind of letter represents, the artistry it exhibits, from basic structure to stylistic ornamentation, and finally the human and even ethical implications of this collection. His notes are full and informative; identifications are well documented and cross-referencing in the notes and in the index of names make the volume a usable source of information, even though it cannot be recommended as stimulating debate or lively narrative. The topics discussed by Chapelain range over a considerable area, without becoming controversial. There is one exceptional letter in which he instructs Heinsius in adapting his integrity to the role of a diplomat; he must acquire "un peu de dissimulation" to oppose to "l'ing~nuit~ du Parnasse." There are references to civil strife, to foreign affairs, to the rivalry of Dutch and English navies, to the sympathy of the French for the Swedish Lutheran dynasty as opposed to the Catholic ttapsburgs and the ecclesiastical electors of Mainz, Cologne, and Trier. Queen Christina of Sweden plays a continually less attractive part as the letters proceed to their end; and Christiaan Huygens, the Duc de Montausier, Ismael Boulliau, Guez de Balzac, and Gilles M4nage figure more or less regularly in these pages. Of philosophers there is little mention, and of discussion of ideas for their own sake still less. The letters are, like many another collection deriving from the age before the learned and scientific journals, a source of valuable information about certain persons and certain books; they are hardly a serious contribution to the history of ideas. H~covaT BROWN Brown University Pascal. By J. H. Broome. (New York: Barnes & Noble, Inc., 1966. pp. x + 250. $6.00.) The most remarkable feature of this work is that it locates and forcefully interprets philosophical themes common to all of Pascal's widely=diversified writing. In his works on the vacuum, the computer, geometry, hydrostatics, Grace, freedom and the art of persuasion as well as the Pens~es, Broome locates five regular features of Pascal's thought: 1) the three orders (pp. 103-4, inter alia); 2) the deux infinis (p. 146); 3) a theory of knowl- 178 HISTORY OF PHILOSOPHY edge; 4) a dialecticalmethod; and 5) a theory of communication. The former two themes are commonly discussed by students of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 177 Amsterdam, appears in the series of the International Archives of the History of Ideas, published under the direction of P. Dibon of Nijmegen and R. Popkin of the University of California at San Diego and a distinguished international editorial committee. Other volumes demonstrate the philosophical respectability of the collection: three on Descartes and Cartesianism, one on Berkeley's immaterialism, three on Pierre Bayle, the rest on philosophical (...) topics from the Renaissance to the 19th century. In this gallery, these letters by a not very good French poet---who was yet an acute and rather individualistic judge of men and books, already one of the arbiters of intellectual and artistic life in France--may seem a little out of place. Yet, to many historians of intellectual affairs, the firm establishment of dates and personal relationships is a matter of much importance, and documents such as these, largely devoted as they are to the communication of news about books and writers, the activities of rulers and ambassadors, printers and curious travelers, can be a substantial aid in determining the structure of an historical moment, the succession and interrelationship of events. One is willing to grant that much of what Chapelain wrote to Heinsius is trivial and concerns books and literary news of slight importance, that a delicate irony makes less of some of his comments than they were worth at the time. The triviality itself is a clue to the temper of Paris during the Fronde and in the late years of the regency of Mazarin. Great ideas were not being discussed in public when Pascal was writing his Pensdes; the irony is a mode of defense against involvement, and fashionable at the time. Bray's elaborate introduction is more concerned with the artistic and subjective aspect of the letters than with their contribution to intellectual history. In about a hundred pages, he discusses his author's method of writing, the genre which this kind of letter represents, the artistry it exhibits, from basic structure to stylistic ornamentation, and finally the human and even ethical implications of this collection. His notes are full and informative; identifications are well documented and cross-referencing in the notes and in the index of names make the volume a usable source of information, even though it cannot be recommended as stimulating debate or lively narrative. The topics discussed by Chapelain range over a considerable area, without becoming controversial. There is one exceptional letter in which he instructs Heinsius in adapting his integrity to the role of a diplomat; he must acquire "un peu de dissimulation" to oppose to "l'ing~nuit~ du Parnasse." There are references to civil strife, to foreign affairs, to the rivalry of Dutch and English navies, to the sympathy of the French for the Swedish Lutheran dynasty as opposed to the Catholic ttapsburgs and the ecclesiastical electors of Mainz, Cologne, and Trier. Queen Christina of Sweden plays a continually less attractive part as the letters proceed to their end; and Christiaan Huygens, the Duc de Montausier, Ismael Boulliau, Guez de Balzac, and Gilles M4nage figure more or less regularly in these pages. Of philosophers there is little mention, and of discussion of ideas for their own sake still less. The letters are, like many another collection deriving from the age before the learned and scientific journals, a source of valuable information about certain persons and certain books; they are hardly a serious contribution to the history of ideas. H~covaT BROWN Brown University Pascal. By J. H. Broome. (New York: Barnes & Noble, Inc., 1966. pp. x + 250. $6.00.) The most remarkable feature of this work is that it locates and forcefully interprets philosophical themes common to all of Pascal's widely=diversified writing. In his works on the vacuum, the computer, geometry, hydrostatics, Grace, freedom and the art of persuasion as well as the Pens~es, Broome locates five regular features of Pascal's thought: 1) the three orders (pp. 103-4, inter alia); 2) the deux infinis (p. 146); 3) a theory of knowl- 178 HISTORY OF PHILOSOPHY edge; 4) a dialecticalmethod; and 5) a theory of communication. The former two themes are commonly discussed by students of... (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

Argumentation schemes have played a key role in our research projects on computational models of natural argument over the last decade. The catalogue of schemes in Walton, Reed and Macagno’s 2008 book, Argumentation Schemes, served as our starting point for analysis of the naturally occurring arguments in written text, i.e., text in different genres having different types of author, audience, and subject domain, for different argument goals, and for different possible future applications. We would often first attempt to analyze (...) the arguments in our corpora in terms of those schemes, then adapt schemes as needed for the goals of the project, and in some cases implement them for use in computational models. Among computational researchers, the main interest in argumentation schemes has been for use in argument mining by applying machine learning methods to existing argument corpora. In contrast, a primary goal of our research has been to learn more about written arguments themselves in various contemporary fields. Our approach has been to manually analyze semantics, discourse structure, argumentation, and rhetoric in texts. Another goal has been to create sharable digital corpora containing the results of our studies. Our approach has been to define argument schemes for use by human corpus annotators or for use in logic programs for argument mining. The third goal is to design useful computer applications based upon our studies, such as argument diagramming systems that provide argument schemes as building blocks. This paper describes each of the various projects: the methods, the argument schemes that were identified, and how they were used. Then a synthesis of the results is given with a discussion of open issues. (shrink)