This book is a collection of essays in honor of Paul Ziff written by his col leagues, students, and friends. Many of the authors address topics that Ziff has discussed in his writings: understanding, rules and regularities, proper names, the feelings of machines, expression, and aesthetic experience. Paul Ziff began his professional career as an artist, went on to study painting with J. M. Hanson at Cornell, and then studied for the Ph. D. in philosophy, also at Cornell, with Max Black. Over the next three decades he produced a series of remarkable papers in philosophy of art, culminating in...
This book is a collection of essays in honor of Paul Ziff written by his col leagues, students, and friends. Many of the authors address topics that Z...
This essay is the product of years of distaste for, and dissatisfaction with, the efforts of moral philosophers. It can be tiresome to attend to details, to spell out the obvious, but moral philosophy is such an abysmally difficult subject that faster than a creeping slug is breakneck reckless speed. One simply must content oneself with a slow slimy trail painfully drawn and cautiously constrained. Generally speaking, philosophy, and, in particular, moral philosophy, is too hard fot philosophers. Even though publishing is spitting in the ocean, and even though my sour sweet spittle will not...
This essay is the product of years of distaste for, and dissatisfaction with, the efforts of moral philosophers. It can be tiresome to attend to detai...
THIS ESSAY was begun a long time ago, in 1962, when I spent a year in Rome on a Guggenheim Fellowship. That twenty one years were required to complete it is owing both to the character of the theory presented and to my peculiar habits of mind. The theory presented is a coherence theory of knowledge: the con ception of coherence is here dominant and pervasive. But considera tions of coherence dictate an attention to details. The fact of the matter is that I get hung up on details: everything must fit, and if it does not, I do not want to proceed. A second difficulty was that all the...
THIS ESSAY was begun a long time ago, in 1962, when I spent a year in Rome on a Guggenheim Fellowship. That twenty one years were required to complete...
Although various sections of this work have been published separately in various journals and volumes their separate publication is wholly attributable to the exigencies of life in academia: the work was devised as and is supposed to constitute something of an organic unity. Part II of 'The Cow with the Subtile Nose' was published under the title 'A Creative Use of Language' in New Literary History (Autumn, 1972), pp. 108-18. 'The Cow on the Roof' appeared in The Journal oj Philosophy LXX, No. 19 (November 8, 1973), pp. 713-23. 'A Fine Forehand' appeared in the Journal oj the Philosophy oj...
Although various sections of this work have been published separately in various journals and volumes their separate publication is wholly attributabl...
This is the final work of the distinguished philosopher Paul Ziff, whose earlier books include Understanding Understanding, Philosophical Turnings, and Semantic Analysis. It is carefully crafted and written in numbered paragraphs rather than chapters, in style of the later Wittgenstein. The work concerns morality, rationality, symbolism and imagery. In the words of the author: "The primary thesis of this essay is that, although there are many different and conflicting moralities, both here in America and throughout the world, some of them can be criticized and rejected on rational...
This is the final work of the distinguished philosopher Paul Ziff, whose earlier books include Understanding Understanding, Philosophical Turnings, an...
THIS ESSAY was begun a long time ago, in 1962, when I spent a year in Rome on a Guggenheim Fellowship. That twenty one years were required to complete it is owing both to the character of the theory presented and to my peculiar habits of mind. The theory presented is a coherence theory of knowledge: the con ception of coherence is here dominant and pervasive. But considera tions of coherence dictate an attention to details. The fact of the matter is that I get hung up on details: everything must fit, and if it does not, I do not want to proceed. A second difficulty was that all the...
THIS ESSAY was begun a long time ago, in 1962, when I spent a year in Rome on a Guggenheim Fellowship. That twenty one years were required to complete...
Although various sections of this work have been published separately in various journals and volumes their separate publication is wholly attributable to the exigencies of life in academia: the work was devised as and is supposed to constitute something of an organic unity. Part II of 'The Cow with the Subtile Nose' was published under the title 'A Creative Use of Language' in New Literary History (Autumn, 1972), pp. 108-18. 'The Cow on the Roof' appeared in The Journal oj Philosophy LXX, No. 19 (November 8, 1973), pp. 713-23. 'A Fine Forehand' appeared in the Journal oj the Philosophy oj...
Although various sections of this work have been published separately in various journals and volumes their separate publication is wholly attributabl...
