Classifications of animals and plants have long been represented by hierarchical lists of taxa, but occasional authors have drawn diagrammatic versions of their classifications in an attempt to better depict the "natural relationships" of their organisms. Ornithologists in 19th-century Britain produced and pioneered many types of classificatory diagrams, and these fall into three groups: (a) the quinarian systems of Vigors and Swainson (1820s and 1830s); (b) the "maps" of Strickland and Wallace (1840s and 1850s); and (c) the evolutionary diagrams of (...) the post-Darwin authors (1860 on). The quinarians distinguished between affinity and analogy and used both in their classifications, whereas Strickland rejected the quinarians' belief in numerical regularity and their use of analogy. Wallace's "maps" are easily given an evolutionary interpretation, and his approach was taken up and modified by later evolutionary anatomists. Sharpe returned to Strickland's methods and merely appended a superficial evolutionary interpretation. Contrary to common belief systematics has a rich conceptual history, and many of the conceptual developments in 19th-century systematics were made by ornithologists. (shrink)

On its first appearance in 1960, J.O. Urmson's Concise encyclopedia of Western philosophy and philosophers established itself as a classic. Its contributors included many of the leading philosophers of the English-speaking world: Ryle, Hare, Strawson, Ayer, Dummett, Williams and many others. They wrote with an authority and individuality which made the Encyclopedia into a lively and engaging introduction to philosophy as well as a convenient reference work. For this edition, supervised by Jonathan Rée, the original articles have been revised and (...) updated, and eighty articles by thirty one new authors have been added. The additions take account of recent developments in philosophy, of literary, historical and political issues in philosophy, and of developments in continental thought, including in Marxism, psychoanalysis, phenomenology, existentialism, structuralism, post-structuralism and deconstruction. There is a clear, integral cross-referencing system which allows the reader to identify points of overlap between philosophical traditions and their personalities at a glance. (shrink)

Moral philosophers tend to discriminate, explicitly or implicitly, three types of action from the point of view of moral worth. First, they recognize actions that are a duty, or obligatory, or that we ought to perform, treating these terms as approximately synonymous; second, they recognize actions that are right in so far as they are permissible from a moral standpoint and not ruled out by moral considerations, but that are not morally required of us, like the lead of this or (...) that card at bridge; third, they recognize actions that are wrong, that we ought not to do. (shrink)

Philosophical Analysis Its Development between the Two World Wars.

Aristotle's doctrine of the mean is not a counsel to perform mean or moderate actions. It states that excellence of character is a mean state with regard to the having and displaying of emotions. All emotions are morally neutral; character is shown by displaying emotions on the right occasions, Not too often or too rarely, Not too strongly or too weakly, For sufficient and only sufficient reasons, Etc. The difficulties for such a view presented by justice and such bad emotions (...) as envy are discussed. The conclusion is that basically aristotle's theory can resist critical scrutiny. (shrink)

J. O. Urmson; VIII*—A Defence of Intuitionism, Proceedings of the Aristotelian Society, Volume 75, Issue 1, 1 June 1975, Pages 111–120, https://doi.org/10.1093/.

Peter Kivy argues that Handel was the first composer to be regarded as a genius and that only in the eighteenth century was the philosophical apparatus in place that would enable any composer to be conceived of as a musical genius. According to Kivy, a Longinian conception of genius transformed Handel into a genius. A Platonic conception of genius was used to classify Mozart as a genius. Then Kant adopted a Longinian conception of genius and this shaped the perception of (...) Beethoven. Kivy is wrong on all counts. Composers were thought to be geniuses long before Handel. The emergence of philosophical aesthetics in the eighteenth century did little to shape conceptions of musical genius. More specifically, Kivy misrepresents Kant's conception of genius and the role that it plays in the recognition of Beethoven as a musical genius. (shrink)

Instrumentalism is an approach to science that treats a theory as a tool and only as a tool for computation; it dispenses with the concept of truth.Conventionalism treats a theory as true by convention if it forms a pattern of observations from which correct predictions can be made.Operationalism denies meaning to the concepts of a theory unless they can be defined operationally. It is argued in this paper that truth-value is indispensable to science, because a theory can be rejected only (...) if an empirical consequence is false and if falsity of a conclusion entails falsity of a premise. This undermines the above positions. The fourth interpretation isinduction. Induction, by contrast, uses the notion of truth-value. What is focused on here is its reliance on the ultimacy ofobservation. The present thesis is that instrumentalism, conventionalism, and induction are different attempts to handle observations. The common problem is the gap between data and theory.All these interpretations share a philosophy of observationalism. The aim of this paper is to show that the several orthodox interpretations of science all fail to solve the problem of the data-theory gap, and to show that they all presuppose a philosophy of observation. (shrink)

J. O. Urmson; VIII*—A Defence of Intuitionism, Proceedings of the Aristotelian Society, Volume 75, Issue 1, 1 June 1975, Pages 111–120, https://doi.org/10.1093/.

The essays in this volume explore current work in central areas of philosophy, work unified by attention to salient questions of human action and human agency. They ask what it is for humans to act knowledgeably, to use language, to be friends, to act heroically, to be mortally fortunate, and to produce as well as to appreciate art. The volume is dedicated to J. O. Urmson, in recognition of his inspirational contributions to these areas. All the essays but one have (...) been specially written for this volume. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Canti VI, Bruto Minore GIACOMO LEOPARDI (Translated by Steven J. Willett) To Peter Green After Italian Valor, lying in Thracian dust an immense ruin, had been uprooted, then in the valleys of green Hesperia, on Tiber’s shore, Fate prepares the tramp of barbarian horse, and from naked forests oppressed by the freezing Bear, calls forth the Gothic swords to overthrow Rome’s renowned walls; sitting alone, soaked in brothers’ (...) blood, through black night in a desolate site, Brutus is determined to die, and the implacable gods and Hell itself he accuses with savage cries and strikes the somnambulant air in vain. Fatuous Valor, the empty mists, the fields of unquiet phantoms are your schools, and behind you strides remorse. To you, marmoreal gods, (whether you reside in Phlegethon or the clouds), to you a laughingstock and mockery is the miserable race from whom you extort temples and a fraudulent law insulting to mortals. Is heaven’s wrath, then, so provoked by terrestrial piety? and do you then sit, Jove, impiety’s protector? and when storm clouds exult through the air, and when arion 27.1 spring/summer 2019 you hurl the swift thunderbolt, do you cast the sacred fire on the just and faithful? Invincible destiny and iron necessity crush the sickly slaves of death: and if nothing avails to end their indignities, the common man takes comfort in their necessity. Is the evil without cure less harsh? Does he feel no grief who’s stripped naked of hope? War to the death, eternal, o ignoble fate, the valorous man wages, incapable of surrender; and your tyrannical right hand, victorious as it bears him down, indomitable he shrugs off with a valiant show, when in his noble side the bitter blade runs with blood, and malignly he smiles at the darkening shadows. He displeases the gods who violently breaks into Tartarus. No such courage could be found in their feeble, eternal breasts. Perhaps our torments, perhaps our bitter accidents and wretched passions heaven created as a pleasing spectacle for their idle hours? Not between calamities and crimes, but free in the forests and pure Nature appointed us, once our queen and goddess. But since on earth impious custom has destroyed the blessed realms and subjected our miserable life to other laws; when a virile soul rejects his luckless days does Nature return, and accuse the arrow that’s not hers? 166 CANTI VI, bruto minore Ignorant of guilt and their own misfortunes are the fortunate beasts; serene old age guides them to an unforeseen passage. But if they dash their foreheads on rough tree-trunks or from a mountain cliff cast bodies headlong to the winds, moved by their anguish, against that miserable desire would stand no arcane law or shadowy conception. You alone, among the numerous progeny that heaven created, alone among all, children of Prometheus, regret life. Alone o wretched ones, to you Jove bans, if sluggish fate delays, the shores of death. And you, from the sea stained by our blood, you rise bright moon, and explore the unquiet night and the deadly battlefield of Italian Valor. The victor tramples on kinsmen’s breasts, the hills shudder, from her highest summits ancient Rome collapses— and are you so placid? You saw the birth of Lavinia’s offspring, and their years of happiness, and the memorable victories; and on the mountain peaks you pour your immutable silent light when, in the wreck of the servile Italian name, this solitary place will echo beneath the barbarian tramp. Giacomo Leopardi 167 Here among naked rocks or on green boughs, beast and bird, breasts heavy with their habitual oblivion, ignore the profound ruin and the altered destiny of the world: and as the rooftop of the industrious peasant first glows red, with its morning song the one will wake the valleys, while through high slopes the other will startle the helpless multitude of smaller creatures. Oh destiny! oh insensate race! we are an abject part of things; neither the bloodstained soil nor the howling caves has our calamity ever perturbed, and no human cares stain the stars. Neither to Olympus’ or Cocytus’ deaf kings, or to the unworthy earth, and... (shrink)

Philosophical Analysis Its Development between the Two World Wars.