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The Spiritual Consciousness of Carmen Martín Gaite
- The Whole of Life Has Meaning
- Anne-Marie Storrs
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- Boydell & Brewer
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- 09 June 2023
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- 07 March 2023
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Spanish writer Carmen Martín Gaite (1925-2000) defined religioso as the reconnection of that which was previously united, namely, the day-to-day and supernatural worlds - here defined as consciousness and the unconscious, bringing awareness and wholeness. In this book, Martín Gaite's religious outlook is explored through the inner journeys of five female characters in 'El balneario', 'Lo raro es vivir', 'Irse de casa' and 'Nubosidad variable'.
Acknowledgements
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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- 07 March 2023, pp ix-x
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Bibliography
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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5 - Looking for the Lost Daughter: Sofía’s Search in Nubosidad variable
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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- 07 March 2023, pp 151-182
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Summary
Introduction
The second protagonist of Martín Gaite's 1992 novel, Nubosidad variable, also makes a descent to the inner world through writing, and her story retells another ancient myth. Through the series of writing exercises Sofía Montalvo does at the behest of her friend Mariana León, Carmen Martín Gaite retells the familiar story of Demeter and Persephone. The descent by the goddess Inanna, discussed in Chapter 4, was voluntary. While there are some broad similarities with this later myth, there are far more important differences. However, Martín Gaite, in her retelling, brings the two myths closer together.
Demeter and Persephone
The myth of Demeter and Persephone is regarded by Jung as a feminine myth and has been interpreted in various ways with different emphases. All begin with Zeus, god of the sky, allowing or encouraging his brother Hades, god of the underworld, to take Zeus's daughter Core as his wife, without regard for the wishes of either Core or her mother Demeter, goddess of the cornfield. At the start of the myth, the young goddess Core is playing with her friends and picking flowers. Graves cites Ovid in identifying the flowers as poppies and argues that, as well as the association of poppies with Demeter and other goddesses, ‘Core picks or accepts poppies because of the soporific qualities, and because of their scarlet colour which promises resurrection after death.’ The Homeric Hymn to Demeter names a range of flowers – roses, crocuses, violets, irises, hyacinths and a narcissus. All are identified with spring, which connects them with rebirth, particularly as they are planted in autumn and stay hidden in the ground throughout the winter, which connects them with Core's future life pattern. Hall identifies Core's companions as Athena and Artemis.
Core strays away from her companions on seeing a beautiful, strongly perfumed, thousand-petalled narcissus and bends over to admire and possess it. The flower has been placed there by Gaia, goddess of Earth and sister to the conspiring gods. Narcissus is also the youth who fell in love on seeing his own image reflected back to him from clear water – the white narcissus flower springing up where his blood spilt after killing himself when he found he could not possess himself. It is one of the plants sacred to the god of the underworld.
1 - In Spirit and Truth
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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Summary
Meaning
‘Meaning makes a great many thing endurable – perhaps everything’. When we think about the impact of seeing the meaning in something, perhaps after not understanding the experience for some time, we may agree that the sense of calm, of a world opening up, of seeing a way forward in a new direction, rooted now in understanding, really does make difficult, challenging, even devastating experiences bearable. In 1989 Carmen Martín Gaite told the Italian Hispanist Maria Vittoria Calvi that eventually she was able to understand the meaning in everything, that she experienced everything in a very meaningful way. The understanding she arrives at represents an objective appreciation of situations and experiences that may not have been apparent at the time. Four years earlier her twenty-eight-year-old daughter, Marta, had died as the result of a heroin addiction, yet Martín Gaite sets no limits to her understanding. In a recent book exploring Martín Gaite's six final novels with reference to the writer's own testimony, shared during their many years of friendship, Joan Lipman Brown relates that Martín Gaite told her ‘she saw Marta as “una pionera” [a pioneer], since she was one of the first to confront the twin plagues of heroin and AIDS that would claim the lives of so many young Spaniards’. Martín Gaite's perspective endows the experience of Marta's life and death with meaning, opening up a new way of seeing and understanding. It may also provide a sense of a new dimension, which is not surprising when we consider the source of Martín Gaite's view that everything is meaningful.
In the same interview, Martín Gaite described herself to Maria Vittoria Calvi as religious, as having a lot of religious feeling. The qualification she placed on her definition of ‘religious’ brings it closer to what might be described as ‘spirituality’. Martín Gaite is not describing adherence to a creed or following prescribed practices, but a perspective that recognises the presence of a supernatural world in addition to the day-to-day world, and seeks to reunite the two. It involves living in full recognition of the interaction of the day-to-day and spiritual worlds. For Martín Gaite defines her understanding of ‘religion’ as ‘volver a atar’ (from religare), meaning to bind back or bind again, with the idea of reconnecting:
Contents
- Anne-Marie Storrs, University of Edinburgh
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2 - The Link has Broken: Matilde’s Dream in El balneario
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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Summary
Introduction
There appears to be some progression through Martín Gaite's works in the response of those characters who dream, from the short stories of the 1950s to the novels of the 1990s, as can be seen in the analysis in this chapter of the dreamer Matilde's response to her dream, and in Chapter 5, which explores the story of Sofía Montalvo in the 1992 novel Nubosidad variable. For the dreams or fragments of dreams that figure in many of Carmen Martín Gaite's fictional works there are no obvious attempts at interpretation. The exceptions to this are where the message of the fictional dream is clear – for example, the dreams in Castillo – which also contrasts them with most dreams in real life. The absence of interpretation is also true of the dreams recorded in Martín Gaite's notebooks. Her notebooks were edited, with some material not included, but among the published writings there is also no indication of attempted interpretation. Martín Gaite frequently makes reference to the difficulties of remembering dreams even when they are so impressive that, on waking, it seems as if it would be impossible to forget them. She, like some of her characters, clearly wrote down her dreams. She may also have stayed with their atmosphere all day as recommended by Jung:
when a dream symbol comes up in a dominating form, one should take the trouble to reproduce it in a picture, even if one does not know how to draw, or to cut it in stone, even if one is not a sculptor, and relate to it in some real manner. […] one should stay with the symbols of one's dreams the whole day and try to see where they want to enter the reality of one's life.
Some of Martín Gaite's characters, like Sofía Montalvo in Nubosidad, stay with the atmosphere of their dream and, as a result, the impact of their response takes effect in their lives. For others, however, the potential of the dream is missed and the failure to understand the meaning of the dream results in it being lived ‘outside’ the dreamer – projected – as can be seen in some of the short stories. The dreams in the novels and short stories are all presented as significant in the lives of the characters.
4 - ¡Oh Inanna! No investigues los ritos del mundo inferior: Mariana’s Descent to the Underworld in Nubosidad variable
- Anne-Marie Storrs, University of Edinburgh
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Summary
Introduction
Chapters 2 and 3 explored three characters in three of Martín Gaite's works who, through unawareness or ego, were unable to live as fully as they might. None of them shared the Spanish writer's perspective on the interaction between the supernatural and everyday worlds. In this chapter and the next, the stories of the two protagonists of Martín Gaite's 1992 novel, Nubosidad variable, will reveal a much more positive presentation of the writer's spiritual consciousness. Both characters value life lived as though the two worlds are one. So, despite their one-sidedness at times, which causes unhappiness to both women, by holding onto this underlying value they are each able to undertake an inner journey that leads them into a creative and more fulfilling way of living. Both women make an inner descent through writing and, in both stories, the motif of ancient, mythological journeys appear in the working out of the plots of their ordinary human lives. The mythological patterns that are revealed reflect the stories of the descent of the goddess Inanna to the underworld and, in Chapter 5, the myth of Demeter and Persephone.
The title of this chapter is taken from the myth of the Sumerian goddess Inanna's descent to the underworld, related in the poem ‘The Descent of Inanna’, which Joseph Campbell quotes in his 1949 study, The Hero with a Thousand Faces. This warning to Inanna from Neti, the chief gatekeeper of the underworld kingdom, which forms the refrain of each verse, is among the few notes Martín Gaite made following her reading of Campbell's book in the early 1960s. In Nubosidad when, in one of her letters to her friend Sofía, Mariana León is recalling her student days and particularly her growing interest in specialising in psychiatry after graduating in medicine, she depicts her vocation in an echo of Inanna's journey and the refrain in the ancient myth, which represents a challenge to the gatekeeper's words: ‘¡Oh, investigar los caminos tortuosos del mundo interior!’ [Oh, investigate the winding paths of the inner world] (216). At the time of deciding on her career, Mariana assessed her choice as being between attending to her own inner world and that of others (315). Some thirty years later she is called to turn her attention to her inner self and make her own descent into the underworld.
3 - When the Meaning is Lost: Death and Life in Lo raro es vivir and Irse de casa
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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Summary
Introduction
In this book I am exploring Carmen Martín Gaite's depiction of characters whose religious or spiritual perspective varies considerably from her own, along with her presentation of what Salustiano Martín describes as the ‘otro camino’ [different way] she tries to offer her readers, one that supports the development of an outlook that perceives and responds to the interaction between the day-to-day and the supernatural worlds, between consciousness and the unconscious. The last chapter concluded that, while the protagonist of Balneario did not see dreams as a way of reuniting the two worlds, as a way to wholeness, Martín Gaite typically left open the possibility that at some future date Matilde might return to the long corridors and draw on the dream in order to engage more meaningfully with her inner life. This chapter will explore two secondary characters who appear in the writer's last two complete novels, Lo raro es vivir and Irse de casa. The relationships of these characters with their inner worlds is so poor that it seriously threatens their ability to live fully and, in one case, threatens life itself.
The importance of fairy tales to Carmen Martín Gaite is well known. Over time she seemed to modify the attitude to traditional fairy tales that she had set out in critical comments in several essays in El cuento de nunca acabar regarding the predictability of such tales and the inadequacies of their protagonists, along with their apparent inability to teach a child anything about the world around her. Her own fairy tales – Castillo, Pastel and Caperucita – address some of those criticisms through their strong heroes and somewhat inconclusive endings. They also retell or reflect well-known fairy tales: Caperucita makes overt reference to one of the most retold of the traditional tales, Little Red Riding Hood, while Castillo and Pastel reflect aspects of Snow White and Sleeping Beauty respectively. The role of fairy tales and their meaning for protagonists in her later novels are presented much more positively than her earlier reactions. Her 1994 novel for adults, Reina, often included by critics among her fairy tales, illustrates the importance of these stories in guiding and inspiring readers of the tales – represented in the novel by its thirty-year-old protagonist Leonardo Villalba – to take hold of their lives and develop the qualities displayed by their fairy tale heroes.
Dedication
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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Conclusion
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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Summary
The starting-point of this book was an interview in which Carmen Martín Gaite explained that she considered everything that happened to her to be meaningful, that she did not think anything happened by chance, and that her vision was religious: a vision that perceived and lived the daily interactions of the supernatural and day-to-day worlds. Religare, volver a atar – to bind back, to reconnect, as Martín Gaite defined her religious perspective – is not the typical understanding of the word ‘religious’ or ‘religion’, which is associated far more with adherence to a creed, with attendance at services in a building, and often with a large organisation with a hierarchical structure. Yet, as has been argued in this book, Martín Gaite's perspective represents a mature religious consciousness that is founded in spirit and can also be described as a spiritual consciousness. It is a consciousness that is close to the way Jesus promised that religion would develop, namely away from buildings and with its source entirely in the inner world, in spirit.
This mature concept of religion is also described by John Macmurray as one that, like Martín Gaite, would no longer perceive two separate worlds – the day-to-day world and the supernatural – but would understand and live as though they are part of the same reality. In the notes she made on Joseph Campbell's The Hero with a Thousand Faces, Martín Gaite recorded the choice faced by heroes on their return from their inner journey between keeping to themselves the wisdom they have learnt and communicating it to others. Martín Gaite further noted that it was not possible to share the experience of enlightenment, only the road towards it. In the stories analysed in this book, the Spanish writer shares not only possible roads to enlightenment, to a mature religious perspective on life, to a mature spiritual consciousness, but also stories that warn of roads that lead away from this.
It is perhaps not surprising that in one of her earliest works, El balneario, the attitude of the main character towards the unconscious is depicted as full of uncertainty and suspicion. In the novella the supernatural dimension – in the form of a long and complex dream – is presented as quite separate from the waking life of the dreamer, the señorita Matilde.
Index
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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Abbreviations
- Anne-Marie Storrs, University of Edinburgh
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- The Spiritual Consciousness of Carmen Martín Gaite
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Frontmatter
- Anne-Marie Storrs, University of Edinburgh
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Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. 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