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3 - Into and Out of the Wild: The Call of the Wild and White Fang
- Kenneth K. Brandt
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- Jack London
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- Liverpool University Press
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- 04 January 2020
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- 31 May 2018, pp 42-59
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Summary
At the beginning of Chapter 2 of Part III in White Fang, London establishes the boundaries of his canid universe by stressing the stability of a naturalistic ‘theology’ against the unsettled trajectories of human religions: ‘To man has been given the grief, often, of seeing his gods overthrown and his alters crumbling; but to the wolf and the wild dog that have come in to crouch at man's feet, this grief has never come.’ These vagrant human gods are chimerical, existing merely as ‘vapors and mists of fancy eluding the garmenture of reality … intangible outcroppings of self into the realm of spirit’. In contrast to such elusive deities, dogs and wolves ‘find their [human] gods in the living flesh, solid to the touch…. No effort of faith is necessary to believe in such a god; no effort of will can possibly induce disbelief in such a god’ (NST 165).
White Fang feels no warmth or fondness for his Indian master, Gray Beaver, a ‘savage god’. Yet White Fang is ‘glad to acknowledge his lordship’, based solely on ‘superior intelligence and brute strength’ (NST 187). This natural supernaturalism in The Call of the Wild and White Fang is one way London uses a naturalistic razor to excise metaphysical vagaries and create a less impeded, more visceral encounter with the primal elements of the real world. The result is a kind of monistic rewilding that appropriates the ecstatic sensations normally associated with metaphysical religious experience. In regard to this mélange, Charmian London perceived an important aspect of London's method when she observed that her husband's ‘materialism incarnated his idealism, and his idealism consecrated and transfigured his materialism’ (The Book of Jack London i. 49).While London maintains his naturalistic emphasis, the experiences of Buck and White Fang can be as intense or rapturous as those of any pious mystic.
Jacqueline Tavernier-Courbin points out that in The Call of the Wild, ‘London's fur-coated hero allows him to say much more about the human situation than would otherwise been allowed by contemporary readers and editors, or even by modern readers’.
Notes
- Kenneth K. Brandt
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- Jack London
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- 31 May 2018, pp 128-136
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2 - Getting the Perspective: The Northland Stories
- Kenneth K. Brandt
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- Jack London
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- Liverpool University Press
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- 04 January 2020
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- 31 May 2018, pp 21-41
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Summary
‘It was in the Klondike I found myself,’ wrote London. ‘There nobody talks. Everybody thinks. There you get your perspective. I got mine’. London's 1897–8 Northland odyssey provided a frontier landscape through which he could vividly dramatize cultural, economic, and ethical concerns. In keeping with his ‘motif-under-the-motif’ technique, the surface layers of these stories are exciting and adventurous, while on lower levels they engage more penetrating moral and philosophical issues. The Northland's pitiless frozen environment mirrors capitalism's ruthless social Darwinism. Its desolate blankness embodies the post-Nietzschean ‘god-is-dead’ universe, and its inhospitable harshness mandates an ethical response of solidarity. For London, this was a Naturalistic setting par excellence that let him transport and enthral readers, while casting socio-philosophical issues into sharper relief.
London's Darwinian-existential Northland is ultramodern, but the behavioural responses he endorses are less radical departures from traditional values. Comradeship, reciprocation, and resilience are applauded. Selfishness, braggadocio, and shirking are scorned. The rub for his characters comes in imposing stabilizing principles amid fluid circumstances of moral ambiguity. The key survival traits in these instances are adaptability, cooperative grit, and imagination. London, it seems, is testing the efficacy of such conduct not only within a far-flung Northland environment, but also against the rapidly changing conditions of an increasingly urbanized and commercialized modern world that was growing ever more impersonal, coercive, and mechanized.
In ‘The White Silence’, London's austere rendering of Northland geography displaces the comfortable Victorian worldview of a God-centred universe, but the virtues of comradeship and self-sacrifice retain decisive compensatory value. The story begins in medias res as a white prospector, Mason, his pregnant Indian wife, Ruth, and the Malemute Kid trudge the Northland wilderness with two hundred miles of unbroken trail to navigate before reaching the nearest settlement. The vast and silent emptiness that encases the travellers is daunting. With only ‘six days grub for themselves and none for their dogs’ (NST 298), a sense of urgency sets in as the party slogs over unpacked snow.
Index
- Kenneth K. Brandt
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- Jack London
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- 31 May 2018, pp 147-149
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1 - Jack London: An Adventurous Mind
- Kenneth K. Brandt
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- Jack London
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- 31 May 2018, pp 1-20
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Summary
I would rather be ashes than dust!
I would rather that my spark should burn out in a brilliant blaze than it should be stifled by dry-rot.
I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet.
The proper function of man is to live, not exist.
I shall not waste my days in trying to prolong them.
I shall use my time.
Jack London's CredoIn 1876, Jack London was an unwanted child born out of wedlock and into the working class. Cast among the dispossessed, his life at first took an all-too-predictable route: child labourer, gang member, wharf rat, tramp, convict. It all could have ended abruptly and violently for this juvenile delinquent, and no one would have taken much notice. But he bucked the odds.
Studying nineteen hours a day, he educated himself and got into the University of California, Berkeley. He soon found the curriculum sluggish and, short on funds, dropped out and bolted to the Klondike for the Gold Rush in 1897. London used his raw Northland experience to fuel the rugged stories that blasted his work into prestigious magazines and made him a publishing phenomenon. His stark, robust fiction was a hit with the public and critics. The Northland stories and the novels The Call of the Wild (1903), The Sea-Wolf (1904), and White Fang (1906) made him famous – one of the first bona-fide modern global celebrities. His writings also made this former ‘work beast’ and road kid a rich man. He was more than a popular writer of adventure stories, though. London was an outspoken political radical and socialist – a fiery advocate for the working class and formative foe to moneybag capitalists whom he lambasted for their mismanagement of society. His writings were best-selling, ripping good tales that engaged the weighty ideas of Charles Darwin, Karl Marx, Friedrich Nietzsche, and William James.
London liberally incorporated his varied experiences into his work. His adventures and exploits were amazing. At seventeen he served as able-bodied seaman on a sealing schooner that voyaged to the Bering Sea. He hopped freight trains across the country. He trekked with stampeders and old sourdoughs in the Yukon during the Gold Rush.
8 - Coda: Literary Legacy and Scholarship
- Kenneth K. Brandt
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- Jack London
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- 31 May 2018, pp 124-127
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Summary
Over the last three decades, serious scholarship on Jack London has continued to expand and deepen. His rank as a major American author is secure, though most American critics would not place him in the top tier of American authors. At the same time, a substantial number of scholars from countries such as France, Chile, Germany, Japan, and Russia regard him as a prominent writer and political thinker. International readers also incline to see him as an archetypal American writer. London was, after all, the first notable US writer with legitimate street credibility.
Following London's death, however, literary modernists in the 1920s, who catered to a culturally elite audience, were wary of his popular accessibility and largely ignored his writing. Still, he significantly influenced many writers of the next generation including Hemingway, Steinbeck, and Orwell. Intransigent political currents and the non-contextual emphasis of New Criticism continued to minimize London's contribution to American literature well into the 1970s. Many of these earlier critics disparaged him as a ‘writer of dog stories’, but with the emergence of eco-criticism and animal studies, this longstanding slight is morphing into an asset. The case is similar with the revitalized interest in London's radical politics. Even though some reactionary assessments of London's work persist, Paul Lauter convincingly argues that ‘as the conditions of class disparity, and … conflicts of the early 21st century come in critical ways to resemble those of the early 20th century, London comes to resonate increasingly with us’.1 Previous detractors viewed London's principal subjects as topical or passé – more germane to his own historical moment and personal obsessions than to a shared or ongoing cultural condition. But his major concerns – generating consolatory value in an increasingly posttheistic world, remedying exploitive socioeconomic systems, and achieving a more nuanced understanding of our psychobiology – remain central to societal, political, and intellectual debates worldwide. If anything, London's work is important because he provocatively frames a consideration of these perplexing and troubling matters in ways that have stayed imaginatively engaging and socially relevant.
Additionally, because London often highlights race, class, and gender, the cultural-theoretical turn that shaped most scholarly discourse by the early 1980s initiated a more comprehensive re-evaluation of his writing.
Contents
- Kenneth K. Brandt
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- Jack London
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- 31 May 2018, pp v-vi
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Jack London
- Kenneth K. Brandt
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Recounting his 1897-98 Klondike Gold Rush experience Jack London stated: "It was in the Klondike I found myself. There nobody talks. Everybody thinks. There you get your perspective. I got mine." This study explores how London's Northland odyssey - along with an insatiable intellectual curiosity, a hardscrabble youth in the San Francisco Bay Area, and an acute craving for social justice - launched the literary career of one of America's most dynamic 20th-century writers. The major Northland works - including The Call of the Wild, White Fang, and "To Build a Fire" - are considered in connection with the motifs of literary Naturalism, as well as in relation to complicated issues involving imperialism, race, and gender. London's key subjects—the frontier, the struggle for survival, and economic mobility—are examined in conjunction with how he developed the underlying themes of his work to engage and challenge the social, political, and philosophical revolutions of his era that were initiated by Darwin, Marx, Nietzsche, and others.
4 - Class Struggle: Socialist Writings and The Iron Heel
- Kenneth K. Brandt
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- Jack London
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- Liverpool University Press
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- 04 January 2020
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- 31 May 2018, pp 60-74
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Summary
In On The Origin of Species, Charles Darwin maintains that the struggle for survival ‘almost invariably will be most severe between the individuals of the same species, for they frequent the same districts, require the same food, and are exposed to the same dangers’. As individuals, we compete for the same resources, yet as a communal species we cooperate to acquire those resources. A myriad of thorny social conflicts inevitably emerge between our egotistic drive for self-preservation and our need to be interdependent. This fundamental tension between self-interests and communal obligations is the basis for much of the thematic opposition in London's work and is especially integral to his political writings.
Many post-Second World War American critics have tended to view London's emphasis on class conflict as outmoded, but the increasing wage inequality since the 1970s and the shrinkage of the middle class attest to its ongoing relevance. London's critique of class division is germane in the wake of the 2008 financial crisis and the growing financial inequity created by market economies and their capitalist oligarchs. He argued that capitalism created a social environment that supported avarice and exploitation, whereas socialism tended to encourage altruism and equity. The central conflicts of his political works are often linked to the contests for power between the egalitarian workers and the despotic plutocrats. He knew the path of evolution was variable, but, in his more sanguine appraisals, London viewed the movement toward increased combination and cooperation, along with the eventual emergence of socialism, as congruent with the general trend of biological evolution. London concurred with Darwin on the adaptive benefits of proto-socialist tendencies and believed that more cooperative forms of social organization would eventually win out in the long term – though this succession would mandate a prolonged and vehement struggle. He also acknowledged that modern nation state governments were prone to be exploited by the robust influence of our more brutish egotistical drives and totalitarian inclinations. His era's robber barons, political machines, and exploited workers, along with monopolistic corporate control and corruption, provided ample evidence of the primacy of our selfish instincts. ‘I should like to have socialism,’ he explained in 1901, ‘yet I know that socialism is not the very next step; I know that capitalism must live its life first ’ (CL i. 239).
5 - Individualism and its Discontents: The Sea-Wolf and Martin Eden
- Kenneth K. Brandt
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- Jack London
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- Liverpool University Press
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- 31 May 2018, pp 75-91
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Summary
On November 5, 1915, London wrote to fellow writer Mary Austin, ‘I have again and again written books that failed to get across. Long ago, at the beginning of my writing career, I attacked Nietzsche and his super-man idea. This was in The Sea Wolf. Lots of people read The Sea Wolf, no one discovered that it was an attack upon the super-man philosophy. Later on … I wrote another novel that was an attack upon the super-man idea, namely, my Martin Eden. Nobody discovered that this was such an attack’ (CL iii. 1513). For decades, this statement has beguiled critics and readers alike who have tended to detect some of London's own beliefs in The Sea-Wolf's Captain Wolf Larsen and recognized Martin Eden as one of London's closest fictional alter egos. These novels are not the unequivocal ‘attacks’ London claims them to be. They feature some of his most deftly imagined characters and show that London knew how to imbue rogues and anti-heroes with alluring dynamism. Larsen's cogency and directness captivates readers, but his brutality is repulsive. Martin Eden's zest for knowledge and his dedication to writing are inspiring, yet his self-absorption becomes boorish. The clash of morality and ambition is central to both novels, and London incorporates ideas from the fields of biology, ethics, sociology, business, and aesthetics that heighten the psychological complexity of his characterizations.
The Sea-Wolf ‘s most compelling episodes are the philosophical discussions between Humphrey Van Weyden and Larsen. London pits Humphrey's dualistic idealism against Wolf Larsen's materialistic monism. Ignorant of the brutalities of ‘the world of the real’ (NST 603), Humphrey suffers from an experiential deficit. He is well read and socially conscientious, but his Weltanschauung has been formulated from the sheltered vantage of the leisurely existence funded by his private income. In Larsen's analysis, this west coast nob stands on ‘dead man's legs’ – a liberal intellectual whose privilege has been granted, not earned. Humphrey's delicately nurtured dilettantism (he is a literary critic, after all) is an offence against the self-reliant entrepreneurism that Larsen extols. He must adapt physically and develop the fortitude to sustain himself at sea, and as the narrative progresses, his body does harden.
7 - Sailing West: The Pacific Stories
- Kenneth K. Brandt
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- Jack London
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- Liverpool University Press
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- 04 January 2020
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- 31 May 2018, pp 106-123
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Summary
London's Pacific stories are most frequently concerned with three interrelated subjects: an anthropologically-oriented interest in indigenous cultures and racial groups; an assessment of imperialism's detrimental effects on native populations and its Western practitioners; and a search for wholeness and meaning through local mythologies, folklore, and religions – modes of inquiry London hoped might moderate the alienation wrought by the capitalistic marketplace and scientific rationalism.
Most of these stories were inspired by his 1907–08 Snark cruise to the Hawaiian Islands and South Seas. During this extensive journey, London came across a remarkable array of cultures and ethnic groups. He wrote about race with a particular intensity in his Pacific fiction, often making native Hawaiians, Tahitians, and Melanesians central, exceptional, and valiant characters – an uncommon perspective at odds with the period's publishing preferences and audience expectations. Even though he was at the height of his fame and the Pacific stories are some of his most expertly crafted tales, his repeated focus on non-white characters prompted magazine editors to often reject these stories.
London had a keen interest in the traditions and customs of diverse cultures, yet his perspective remained constrained by the prevailing discourse of Eurocentric racism. While his racial emphases often advance strong critiques of an imperial-racist matrix, he sometimes uses racist and exoticized categories. In recent decades, London's fluctuating views on race have vexed critics. At times, he replicates the racist norms of the dominant culture, while in other instances he protests against them. ‘London was not,’ Christopher Gair notes, ‘an isolated voice able to transcend his own historical moment, but rather a participant in a historically specific network of statements, which defined the limits of possible thought’ (CR 38). His Pacific stories present tangled ideological strands of racial stereotypes as well as anti-racist and anti-imperialist invectives. These writings reveal that he could not fully escape his culture's imperial and racial biases, but they also show that London possessed a unique compassion and respect for the local cultures he encountered during the Snark voyage.
His first Hawaiian story, ‘The House of Pride’, offers one of London's more effective critiques of Western racial attitudes toward Polynesian culture.
Biographical Outline
- Kenneth K. Brandt
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- Jack London
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Frontmatter
- Kenneth K. Brandt
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- Jack London
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Abbreviations
- Kenneth K. Brandt
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6 - Free and Determined: Questions of Agency in The Road and The Star Rover
- Kenneth K. Brandt
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- Jack London
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- 31 May 2018, pp 92-105
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Like other major Progressive-Era American writers, London was eager to challenge Victorian moral pieties and unseat the naı ¨ve belief ‘that “free will” [was] absolute – i.e., that human beings are wholly free to act according to the allegedly clear dictates of reason and conscience, [and are] capable of rationally shaping the course of their experience in a benign manner’. London frequently represents the interplay of freedom and determinism in his work, and The Road, his tramp memoir, and The Star Rover, his prison novel, address issues of agency through particularly compelling scenarios. Most often, London posits that a viable category of agency exists and that a degree of moral responsibility is defensible; however, the degree of freedom and level of accountability he most consistently portrays are notably limited. Though his views on agency were not static, London most frequently dramatizes a position in the free will-determinism debate that resembles a compatibilistic view of free will.
Ian F. Roberts explains that compatibilists, sometimes called ‘soft determinists’, see free will as compatible with determinism ‘because free will is most logically and meaningfully defined as the ability to act as one wishes, without denying the fact that one's wishes are themselves determined by one's upbringing, genetics, and circumstances’; therefore, Roberts maintains, ‘a free act is not one that is undetermined, but simply one which is not constrained by certain types of coercion or psychological compulsion’. Freedom, as conceived by compatibilists, is a matter of having the ability to make unconstrained choices. As Hobbes put it, the liberty of man ‘consisteth in this, that he finds no stop in doing what he has the will, desire, or inclination to do’. Compatibilism seems especially supportable in terms of what Robert Kane refers to as everyday ‘surface’ freedoms, but it can become more problematic when we begin to consider the wider conceptions of autonomy that many often associate with free will. We seem to possess, Kane writes, the ‘freedom to act or to choose what we [will], but [we do not] have the ultimate power over what it is that we willed’ Larger constraints impinge on an all-encompassing capacity to exercise free will. Can free will truly exist within the confines of the larger deterministic factors that envelop our actions?
Select Bibliography
- Kenneth K. Brandt
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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. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- Book:
- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
- Print publication:
- 27 April 2015, pp ix-xxx
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