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Appearance versus Reality: New Essays on Bradley's by Guy Stock

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By Guy Stock

This e-book collects new reviews of the paintings of F. H. Bradley, a number one British thinker of the overdue 19th and early 20th century, and one of many key figures within the emergence of Anglo-American analytic philosophy. famous members from Britain, North the USA, and Australia concentrate on Bradley's perspectives on fact, wisdom, and truth. those essays give a contribution to the present re-assessment of Bradley, exhibiting that his paintings not just used to be the most important to the improvement of twentieth-century philosophy, yet illuminates modern debates in metaphysics, good judgment, and epistemology.

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102–​106. Memory a nd Forget t ing [ 29 ] 30 of memory breaks down, the role of the act of remembering can be made explicit. This allows us to understand its importance vis-​à-​v is the content of memory and so helps us understand how memories can make us who we are. In the end, we are all held together by our Rilkean memories, whether incipient or not. At least, that is where I am going. 38 38. Here is one, more general way of looking at the situation. Suppose we incline towards the view that the content of a mental state is identical with the meaning of the sentence that follows the “that”-​c lause employed in the ascription of that state.

There are two distinct approaches one might take with regard to the inadequacy of these typologies. One might opt for radical overhaul. 2 Or one might be content to survey and identify the failings of current typologies, with a view to injecting them, in certain critical places, with clarity sufficient for the purposes of this book. I shall pursue this latter strategy. 2 PROCEDUR AL AND DECL AR ATIVE MEMORY Procedural memory is memory of how to do something: play the piano, ride a bicycle, hit a top-​spin backhand and so on.

Indeed, whether we should even regard them as memories is not entirely obvious—​and, in fact, largely unimportant for my purposes. Memories or not, these mutated survivors, I shall argue, can place a person in a concrete and significant relation with her past, and as such can play an important role in making her the person she is. An act of mutation requires a starting point: something from which a Rilkean memory might mutate. This starting point must satisfy two conditions. First, it must provide an intelligible point of origin: it must be the sort of thing out of which a Rilkean memory might plausibly be thought to mutate.

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