Both are
philosophical theories concerning the genesis of the...
Not exact matches
The central chapter on the Second Premise (K 65 - 140) contains: (i) a refutation of the attempted application of Cantor's transfinite mathematics to the domain of extramental reality, (ii) two
philosophical arguments which attempt to show the conceptual absurdity of the notion of an infinite past of finite actualities, and (iii) two arguments from physics (
concerning Big Bang and Thermodynamic
theory, respectively) which attempt to show that probably the natural universe had an absolute beginning a finite time ago.
Thus, in terms of this
theory, the
philosophical problem
concerning the status respectively of the plurality of entities received a relatively simple solution.
This article examines Whitehead's
theory of perception to indicate how this
theory provides a
philosophical reinterpretation for two issues of
concern to feminists: criticism of cultural symbols, including language, and the importance of intuition and emotion, usually associated with women, in experience.
While the impact of these classical
theories has remained strong, I would like to point to a specific contribution that, in my view, has served as a kind of watershed in our thinking about the cultural dimension of religion: Clifford Geertz's essay «Religion as a Cultural System,» published in 1966.1 Although Geertz, an anthropologist, was
concerned in this essay with many issues that lay on the fringes of sociologists» interests, his writing is clear and incisive, the essay displays exceptional erudition, and it provides not only a concise definition of religion but also a strong epistemological and
philosophical defense of the importance of religion as a topic of inquiry.
Tomasi tries to deflect worries about capitalism in practice by claiming the high ground of ideal
theory: the
philosophical choice between free market fairness and its alternatives ultimately rests not on empirical and feasibility
concerns, but rather on which vision of justice is most compelling at a moral level.
These
theories were illustrated in sketches — «structures drawings» — that Falkenstein used to define the underlying components of her work and her
philosophical approach to science that was the basis of her aesthetic
concerns.
Her
concerns for the social and
philosophical contexts that contemporary art bring about can be found in numerous contributions to publications on contemporary art and art
theory.