Gary James Jason

In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is the only French-produced movie to win Best Picture, and the only (almost entirely) silent movie to win Best Picture since the start of the Academy Awards in 1929.

This essay is my review of economist Mark Skousen’s book, The Big Three in Economics. In it, he discusses the economic work of Adam Smith, Karl Marx, and John Maynard Keynes. He gives even-handed treatments of the major contributions of each, for example, Smith’s reputation refutation of mercantilist policies and Smith’s crucial insight into the role that division of labor plays in economic growth. My only complaint is that Skousen doesn’t adequately explain his choice of Marx as a great economist. What enduring contributions did he make to the field? Why name him rather than (say) David Ricardo?

In this essay, I look at more or less sympathetic portrayals of egoists in film. I start by explaining some basic concepts: psychological egoism; ethical egoism; default egoism; rational egoism; egotism; cynicism; narcissism; and psychopathy. I then review in-depth two excellent WWII films, Stalag 17 and The Bridge on the River Kwai. I note that the key protagonist in both pictures is the same type of character—both played by the same fine actor, William Holden. The main protagonist in both is a soldier in a POW camp, who appears completely egoistic; however, in both cases, the movie shows that he is just a man acting for self-preservation, but within moral limits. The character in both cases is certainly not an egotist, nor a narcissist, much less a psychopath.

In this paper, two different theoretical problems of induction are delineated. The first problem is addressed; the second problem is deferred to the sequel to this paper. The first problem of induction is taken to be the seemingly unformalizable nature of traditional inductive arguments. It is shown that the problem does not arise out of some particularly dubious argument form (all inductive argument forms being interderivable), but rather from the presupposition that inductive "logic" is, like deductive logic, assertorie. Rather (it is urged), inductive logic is dialectical in nature.