Kornblith versus Sosa on grades of knowledge

In a series of works Sosa (in: Knowledge in perspective, Cambridge University Press, Cambridge, 1991; A virtue epistemology: apt belief and reflective knowledge, Oxford University Press, Oxford, 2007; Reflective knowledge: apt belief and reflective knowledge, Oxford University Press, Oxford, 2009; ‘How Competence Matters in Epistemology’, Philos Perspect 24(1):465–475, 2010; Knowing full well, Princeton University Press, Princeton, 2011; Judgment and agency, Oxford University Press, Oxford, 2015; Epistemology, Princeton University Press, Princeton, 2017) has defended the view that there are two kinds or ‘grades’ of knowledge, animal and reflective. One of the most persistent critics of Sosa’s attempts to bifurcate knowledge is Kornblith (in: Greco (ed) Ernest sosa and his critics, Wiley, Hoboken, 2004; ‘Sosa in Perspective’, Philos Stud 144(1):127–136, 2009; On reflection, Oxford University Press, Oxford, 2012). Our aim in this paper is to outline and evaluate Kornblith’s criticisms. We will argue that, while they raise a range of difficult (exegetical and substantive) questions about Sosa’s ‘bi-level’ epistemology, Sosa has the resources to adequately respond to all of them. Thus, this paper is a (qualified) defence of Sosa’s bi-level epistemology.

     

Race and the Feminized Popular in Nietzsche and Beyond

I distinguish between the nineteenth‐ to twentieth‐century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth‐ to twenty‐first‐century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth‐century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth‐ and twenty‐first‐century practice. I use Nietzsche to track shifts from classical to neo‐liberal methods of appropriating “difference.” Hipness is one form of this neoliberal approach to difference, and it is exemplified by the approach to race, gender, and pop culture in Vincente Minnelli's film The Band Wagon. I expand upon Robert Gooding‐Williams's reading of this film, and argue that mid‐century white hipness dissociates the popular from femininity and whiteness, and values the popular when performed by white men “acting black.” Hipness instrumentalizes femininity and racial nonwhiteness so that any benefits that might come from them accrue only to white men, and not to the female and male artists of color whose works are appropriated.     

Prevalence of renewal of problem behavior during context changes

Renewal is defined as the reemergence of a previously eliminated behavior following a context change. Determining the prevalence of this effect in clinical practice would allow clinicians to better anticipate the reemergence of problem behavior, such as when a patient is discharged from a treatment facility to return to their home. The current consecutive, case-series analysis determined the prevalence and magnitude of renewal when implementing behavioral treatments for problem behavior. Across 182 context changes, renewal was observed 77 times (42.3%). In the first session following the context change, problem behavior rates increased by a factor of 3 and then decreased across successive sessions. These results indicated that renewal effects may be common, but are also transient and return to rates observed before context changes.