There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...) broadly, how can there be works of art whose very success requires the experience of boredom? Our goal in this paper is threefold. After offering a brief survey of kinds of boring art, we: i) derive a set of questions that we argue constitutes the philosophical problem of boring art; ii) elaborate an empirically informed theory of boredom that furnishes the philosophical problem with a deeper sense of the affect at the heart of the phenomenon; and iii) conclude by offering and defending a solution to the problem that explains why and how artworks might wish to make the experience of boredom key to their aesthetic and artistic success. (shrink)

Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.

The philosophy of biomimicry, I argue, consists of four main areas of inquiry. The first, which has already been explored by Freya Mathews, concerns the “deep” question of what Nature ultimately is. The second, third, and fourth areas correspond to the three basic principles of biomimicry as laid out by Janine Benyus. “Nature as model” is the poetic principle of biomimicry, for it tells us how it is that things are to be “brought forth”. “Nature as measure” is the ethical (...) principle of biomimicry, for it tells us that Nature places ethical limits or standards on what it is possible for us to accomplish. And “Nature as mentor” is the epistemological principle of biomimicry, for it affirms that Nature is the ultimate source of truth, wisdom, and freedom from error. Within this overall framework, I argue that seeing Nature as physis—understood as “self-production” or “self-placing-into-the-open”—constitutes the requisite ground for the poetic, ethical, and epistemological principles of biomimicry, and that biomimicry thus conceived involves a new philosophical paradigm, which I call “enlightened naturalism”. (shrink)

This paper argues: (1) All knowledge from fiction is from imagination (2) All knowledge from imagination is modal knowledge (3) So, all knowledge from fiction is modal knowledge Moreover, some knowledge is from fiction, so (1)-(3) are non-vacuously true.

The article presents possible applications of Paul Ricoeur’s theory in interpretation of legal texts and legally relevant human action. One should notice that Paul Ricoeur developed a comprehensive interpretation theory of two seemingly distant phenomena: literary texts and human action. When interrelating these issues, it becomes possible, on the basis of Ricoeur’s work, to construct a unified theory of the interpretation of legal texts and of legally relevant human action. What is provided by this theory for jurisprudence is the possibility (...) of formulating a comprehensive theory of application of law, well established in the ontology of the recipient of the legal text. It should be emphasised that the resulting benefits, outlined in the article become particularly noticeable when set against the background of the methodological weaknesses of legal positivism, concerning both the interpretation of law and a syllogistic model of its application. (shrink)

I argue that imagination has an inherently paradoxical structure: it enables one to flee one’s socio-cultural reality and to constitute one’s socio-cultural world. I maintain that most philosophical accounts of the imagination leave this paradox unexplored. I further contend that Paul Ricoeur is the only thinker to have addressed this paradox explicitly. According to Ricoeur, to resolve this paradox, one needs to recognize language as the origin of productive imagination. This paper explores Ricoeur’s solution by offering a detailed study of (...) reproductive and productive imagination in the framework of poetic imagination. My analysis subjects Ricoeur’s distinction between reproductive and productive imagination to a critique that relies upon the principles of classical phenomenology. According to my central thesis, the imaginative powers of language are themselves rooted in perception. This thesis broadens the scope and significance of Ricoeur’s solution by enabling one to resolve the paradox of imagination not only at the level of language-based imagination, but also at the level of dreams and daydreaming as well as at the level of non-language based art. No less significantly, this thesis enables one to open a fresh dialogue between phenomenology and hermeneutics. (shrink)

Most medical research and a substantial amount of non-medical research, especially that involving human participants, is governed by some kind of research ethics committee (REC) following the recommendations of the Declaration of Helsinki for the protection of human participants. The role of RECs is usually seen as twofold: firstly, to make some kind of calculation of the risks and benefits of the proposed research, and secondly, to ensure that participants give informed consent. The extent to which the role of the (...) REC includes the former is not uncontroversial. Indeed, the most prevalent debate on the role of RECs sees liberals and strong paternalists arguing over the importance of informed consent given by competent agents versus the significance of making benevolent decisions on behalf of others. On the one hand, liberals argue for the rights of competent adults to decide for themselves the kinds and extents of risks to which they wish to expose themselves. On the other hand, proponents of strong paternalism raise concerns about the likelihood of participants being able to truly understand the complex data involved in research. They support a role for RECs in which they exercise duties of benevolence towards patients and participants by limiting the extent to which they can be exposed to significant, permanent and irreversible harms. In this paper, we will argue that when it comes to decisions about risk it is neither possible nor desirable for RECs to adopt either role. (shrink)

The aim of this article is to offer a mitigated moral justification of a much maligned emotional trait, pity, in the Aristotelian sense of ‘pain at deserved bad fortune’. I lay out Aristotle's taxonomic map of pity and its surrounding conceptual terrain and argue – by rehearsing modern accounts – that this map is not anachronistic with respect to contemporary conceptions. I then offer an ‘Aristotelian’ moral justification of pity, not as a full virtue intrinsically related to eudaimonia but as (...) a positive moral quality that has instrumental value in developing and sustaining a certain intrinsically valuable state of character – namely compassion. The justification offered is mitigated in the sense that it does not elevate pity to a virtuous disposition, constitutive of the good life; yet it does offer a crucial counterweight to Aristotle's own denunciation of pity. (shrink)

Metaphorical meaning can be analyzed as triggered by an apparent communicative breach, an incongruity that leads to a default of the presumptive interpretation of a vehicle. This breach can be solved through contextual renegotiations of meaning guided by the communicative intention, or rather the presumed purpose of the metaphorical utterance. This paper addresses the problem of analyzing the complex process of reasoning underlying the reconstruction of metaphorical meaning. This process will be described as a type of abductive argument, aimed at (...) explaining how the vehicle can best contribute to the purpose of the utterance. This type of reasoning involves the analysis of the possible predicates that can be and usually are attributed to the vehicle, and the selection of the one that can support the implicit conclusion constituting the communicative goal of the metaphorical utterance. Metaphorical meaning, in this perspective, becomes the outcome of a complex process of meaning reconstruction aimed at providing the best explanation of the function of the vehicle within a discourse move. (shrink)

This article begins by examining the bad reputation humor traditionally had in philosophy and education. Two of the main charges against humor—that it is hostile and irresponsible—are linked to the Superiority Theory. That theory is critiqued and two other theories of laughter are presented—the Relief Theory and the Incongruity Theory. In the Relief Theory, laughter is a release of pent-up nervous energy. In the Incongruity Theory, humor is the enjoyment of something that violates ordinary mental patterns and expectations. The development (...) of the Incongruity Theory is traced in thinkers like Aristotle, Kant, Schopenhauer and Kierkegaard, and refinements are suggested to the theory. The Incongruity Theory, it is argued, helps us to appreciate the affinity between philosophy and humor, especially the genre known as stand-up comedy. The article concludes by using Robert Nozick’s analysis of wisdom to show how dramatic comedy embodies practical lessons for living well. (shrink)

The paper focuses on Nominalism in history, its application, and its historiographical implications. By engaging with recent scholarship as well as classic works, a survey of Nominalism’s role in the discipline of history is made; such examination is timely, since it has been done but scantily in a purely historical context. In the light of recent theoretical works, which often display aporias over the nature and method of historical enquiry, the paper offers new considerations on historical theory, which in the (...) author’s view may solve some of the contradictions that have surfaced in recent times. The Nominalistic stance is argued against by disputing theorists such as Paul Veyne, who has made a case for Nominalism in history. A brief philosophical section introduces Nominalism in its metaphysical dimension and the discussion is speedily brought to its significance for history. The paper also proposes a solution to the misconstrued yet too often vague application of scientism in history, and offers theoretical grounds that might solve some of the ‘stormy grounds’ historiography finds itself today. Articles by Marcel Gauchet and History and Theory’s Anton Froeyman and Bert Leuridan are engaged with, as well as Murray Murphy’s books on the philosophy of history. Works by Georg Gadamer, Marc Bloch, Benedetto Croce, Hyppolite Taine, and Anthony Grafton crucially inform the discussion and brace the consequential conclusion. (shrink)

In one of the most widely read texts on what makes a life meaningful, composed more than 50 years ago, Kurt Baier presents an intriguing argument against the view that meaning in life would come by fulfilling a purpose God has assigned us. Baier contends that God could not avoid degrading us were He to assign us a purpose, which would mean that God, as a morally ideal being by definition, would not do so. Defenders of God-centred accounts of meaning (...) in life, and even many of its detractors such as myself, have by and large argued that Baier is incorrect on this point. However, using my reply to Baier as a foil, Sagid Salles has recently breathed new life into Baier’s old rationale, providing fresh grounds to believe that God could not avoid degrading us if He gave us a purpose to fulfil. Specifically, Salles argues that God would face a dilemma: either He could give us all the same purpose, which would be unfair since some of us would be in a better position to achieve it than others, or He could give us each a different purpose that we would be equally able to fulfil, which would also be disrespectful since God would have limited our lives so as to make other ends out of reach. In this article, I argue that God could avoid the dilemma Salles poses and hence could assign us a purpose without treating us disrespectfully. (shrink)

The later works of Charles Sanders Peirce (1839–1913) offer an extended metaphor of mind and a rich conception of the dynamics of knowledge and learning. After a ‘rhetorical turn’ Peirce develops his early ‘semiotics’ into a more general theory of sign and sign use, while integrating his pragmatism, phenomenology, and semiotics. Therefore, in this article I bring Peirce's notion of semiosis—the sign's action—to the forefront. In doing so, I hope to disclose how Peirce's rhetorical turn not only opens up towards (...) a richer conception of the dynamics of knowledge and learning, but also invites a shift of perspective from the psychological processes of learning to the semeiotic processes that characterizes the very dynamics of knowledge production. (shrink)

The idea that nature is importantly frame-less is an entrenched dogma in much of environmental aesthetics. Although there are powerful arguments that support this position, there are also powerful arguments supporting the view that observers often - or even inevitably - frame, bound, or otherwise confine natural objects in the course of aesthetic regard. Facing these opposing arguments off against each other produces the 'framing paradox': On the one hand, frames seem to be an indispensable condition for the aesthetic experience (...) of anything whatsoever, and on the other hand the aesthetic appreciation of natural environments seems to require the dissolving or penetrating of boundaries of all sorts. To resolve this paradox, we must abandon an overly narrow conception of 'frame' that has generally been assumed throughout the debate and pay closer attention to what various framing devices (in both natural and artifactual settings) do to focus, rather than confine, aesthetic attention. Doing this enables us to make better sense of the way intelligence and imagination cooperate in carrying attention beyond perceptual phenomena. From the perspective that results, rival claims about the framability of nature can be seen as variable markers on an endless scale of aesthetic selectivity. (shrink)

In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.

The article investigates the astonishing volte-face that Timon performs in Shakespeare and Middleton's Timon of Athens. The main character is not, as is often claimed, unaware of what is going on around him, he is not simply the naïve victim of his avaricious guests, but rather complicit in his own delusions. My reading is informed by two different theoretical concepts: Thorstein Veblen’s concept of “conspicuous consumption” on the one hand, and Octave Mannoni’s concept of “croyance” on the other. By combining (...) these two distinct theories, I want to account for the characteristics of both Timon’s individual and public behaviour, and its radical change between Acts 1–2 and Acts 3–5 of the play. I argue that in Timon of Athens, Shakespeare and Middleton explore the different forms of capital and its limited convertibility in the early modern mercantilist society. (shrink)

While much of the recent literature on mechanisms has emphasized the superiority of mechanisms and mechanistic explanation over laws and nomological explanation, paradigmatic mechanisms—e.g., clocks or synapses—actually exhibit a great deal of stability in their behavior. And while mechanisms of this kind are certainly of great importance, there are many events that do not occur as a consequence of the operation of stable mechanisms. Events of natural and human history are often the consequence of causal processes that are ephemeral and (...) capricious. In this paper I shall argue that, notwithstanding their ephemeral nature, these processes deserve to be called mechanisms. Ephemeral mechanisms share important characteristics with their more stable cousins, and these shared characteristics will help us to understand connections between scientific and historical explanation. (shrink)

This essay argues a case for viewing Derrida's work in the context of recent French epistemology and philosophy of science; more specifically, the critical‐rationalist approach exemplified by thinkers such as Bachelard and Canguilhem. I trace this line of descent principally through Derrida's essay ‘White Mythology: Metaphor in the Text of Philosophy’. My conclusions are (1) that we get Derrida wrong if we read him as a fargone antirealist for whom there is nothing ‘outside the text'; (2) that he provides some (...) powerful counter‐arguments to this and other items of current postmodern wisdom; (3) that deconstruction is more aptly viewed as continuing the epistemo‐critical approach developed by thinkers like Bachelard; and (4) that it also holds important lessons for philosophy of science in the mainstream Anglo‐ American ‘analytic’ tradition. (shrink)

Through the study of Richard Gruneau and Gunter Gebauer’s respective works, this article examines the social significance and theoretical implications of sport’s capacity to represent social life in a theatrical manner. The drama-like images and representations sporting practices produce, institutions codify, and television programs enhance is considered in relation to ideology’s integrative, legitimating, and distorting functions . Acknowledging the filiations of ‘theatre’ with ‘theory’ – both words stand for ‘to contemplate, to see, to observe’ – this study considers theatricality as (...) a valuable theoretical notion that enables a synthetic and reflexive understanding of athletic practices’ bodily dimension, symbolic representations, and institutional determinants. (shrink)

The term “virtual reality” was first coined by Antonin Artaud to describe a value-adding characteristic of certain types of theatrical performances. The expression has more recently come to refer to a broad range of incipient digital technologies that many current philosophers regard as a serious threat to human autonomy and well-being. Their concerns, which are formulated most succinctly in “brain in a vat”-type thought experiments and in Robert Nozick's famous “experience machine” argument, reflect a fundamental misunderstanding of the way that (...) such technologies would probably have to work. They also considerably underestimate the positive contributions that virtual reality technologies could make to the growth of human knowledge. Here, we examine and critique Nozick's claim that no reasonable person would want to plug into his hypothetical experience machine in light of a broadly enactivist understanding of how future VR technologies might be expected to function. We then sketch out a tentative theory of the phenomenon of truth in fiction, in order to characterize some of the distinct epistemic opportunities that VR technologies promise to provide. (shrink)

This paper examines the rhetorical dimension of arguments about global justice. It draws on postcolonial theory, an approach that has explored the relationship between knowledge and power. The global justice literature has elaborated critiques of global inequality and advanced arguments about how to overcome the legacies of domination. These concerns are also shared by critics of colonialism, yet there are also epistemological differences that separate the two scholarly communities. Despite these differences, I argue that bringing the two literatures into conversation (...) generates important benefits. Postcolonial theory draws attention to the way that abstract concepts can function as metaphors that have the unintended consequence of reinforcing power relations. Normative theory will be more effective at promoting global justice if it pays more attention to the politics of representation. (shrink)

Are horror films immoral? Gianluca Di Muzio argues that horror films of a certain kind are immoral because they undermine the reactive attitudes that are responsible for human agents being disposed to respond compassionately to instances of victimization. I begin with this argument as one instance of what I call the Argument from Reactive Attitudes (ARA), and I argue that Di Muzio’s attempt to identify what is morally suspect about horror films must be revised to provide the most persuasive interpretation (...) of the ARA. I then argue that the ARA provides a compelling standard for evaluating the moral permissibility of creating and viewing horror films, yet I note that it is an exceedingly difficult practical task evaluating the risk that these films create for our reactive attitudes. My conclusion is that the ARA provides a useful way or orienting ourselves to the complicated details of evaluating the moral status of horror films. (shrink)

In a letter written to Gadamer after receiving a copy of Truth and Method, Leo Strauss offered many criticisms with which Gadamer took issue. However, he acknowledged the important hint cited in the title. Perhaps strangely, Gadamer never took up this hint and showed very little interest in comedy throughout his Gesammelte Schriften. In this essay, I show that there are ample resources within Gadamerian hermeneutics to answer Strauss positively, also for a rich philosophy of comedy along Gadamerian lines. Toward (...) that end, I use Gadamer’s Aristotelian view of tragedy as a clue; interpretations of play, excess and delight (Ergötzen) also weave into the analyses. (shrink)

Contemporary philosophy of technology, in particular mediation theory, has largely neglected language and has paid little attention to the social-linguistic environment in which technologies are used. In order to reintroduce and strengthen these two missing aspects we turn towards Ricoeur’s narrative theory. We argue that technologies have a narrative capacity: not only do humans make sense of technologies by means of narratives but technologies themselves co-constitute narratives and our understanding of these narratives by configuring characters and events in a meaningful (...) temporal whole. We propose a hermeneutic framework that enables us to categorise and interpret technologies according to two hermeneutic distinctions. Firstly, we consider the extent to which technologies close in on the paradigm of the written text by assessing their capacity to actively configure characters and events into a meaningful whole; thereby introducing a linguistic aspect in the theory of technological mediation. Secondly, we consider the extent to which technologieshave the capacity to abstract from the public narrative time of actual characters and events by constructing quasi-characters and quasi-events, thereby introducing the social in our conception of technological mediation. This leads us to the outlines of a theory of narrative technologies that revolves around four hermeneutic categories. In order to show the merits of this theory, we discuss the categories by analysing paradigmatic examples of narrative technologies: the bridge, the hydroelectric power plant, video games, and electronic money. (shrink)

This article takes its retrospective lead from the oppressive schooling years during the Chinese Cultural Revolution to reflect on the educational significance of artistic activities through considering aesthetic virtues and moral agency cultivated in these activities. Describing an unconventional educational milieu where schooling was deliberately ‘dismantled’, I emphasize the important role that artistic endeavours can play in building a person’s aesthetic strength and moral power to overcome the adversity of life, hence for the fuller human development. By blending philosophical discussion (...) with historical manifestation, I stress the less articulated educational discourse that makes dance relevant to the educational formation of epistemic virtues and moral sensibilities. Joining in the emerging efforts to improving the worlds of schools, curricula, and pedagogies, I argue that the contingent integration of different histories, life conditions, and social and cultural discourses are ‘transformative’ sites for pedagogy. Thus, I seek to shed historically fresh light on the ways of thinking of schooling, education, and the arts for hope and possibility to ultimately argue for ways that can speak to the diversity of global societies today. (shrink)

The essay surveys Newman's work in literary drama, from an early essay on Aristotle's Poetics to his adaptation of Roman comedies for production at the Oratory School, in order to approach his affinities with Hans Urs von Balthasar's theological dramatic theory. Newman does not find a Balthasarian theo-drama via literary drama – perhaps because he was not properly exposed to medieval religious drama – but scattered dramatic analogies in his history writing suggest that he undertakes a theo-drama in that genre. (...) Von Balthasar and Newman employ dramatic analogies to reject chiliastic apocalyptic and foster ‘keromatic’ apocalyptic. (shrink)

This paper contends, following Plato and Broekman, that seeing images as images is crucial to theorizing medicine and that considering clinical pictures as images of images is a much-needed epistemic complement to the domineering view that sees clinical pictures as mirrors of disease. This does not only offer epistemic, but also ethical benefits to individual patients, especially in those cases where patients suffer from chronic, debilitating, and terminal illnesses and where medicine provides no, or limited, answers in terms of treatment, (...) intervention, and meaning. By creating room for a theory of clinical pictures that rightfully emphasizes its pictorial nature, patients and doctors alike may be encouraged to consider under what authorship, and with which epistemic tools, alternative, supplemental images may be produced to get at the existential reality of disease and suffering. Ultimately, this paper argues that the epistemic tools provided by aesthetics may offer such glimpses into the reality of disease and suffering, and I conclude by discussing a few artistic renditions of breast cancer to illustrate my point. (shrink)

To the realists.—You sober people who feel well armed against passion and fantasies and would like to turn your emptiness into a matter of pride and ornament: you call yourselves realists and hint that the world really is the way it appears to you. As if reality stood unveiled before you only, and you yourselves were perhaps the best part of it … But in your unveiled state are not even you still very passionate and dark creatures compared to fish, (...) and still far too similar to an artist in love? And what is ‘reality’ for an artist in love? You are still burdened with those estimates of things that have their origin in the passions and loves of former centuries. Your sobriety still contains a secret and inextinguishable drunkenness. Your love of ‘reality’, for example-—oh, that is a primeval ‘love’ … Subtract the phantasm and every human contribution from it, my sober friends! If you can! If you can forget your descent, your past, your training—all of your humanity and animality. (F. Nietzsche,The Gay Science, Book Two, extract from Section 57). (shrink)

This article examines the storytelling aspect in philosophizing with rehabilitating cancer patients in small Socratic dialogue groups. Recounting an experience to illustrate a philosophical question chosen by the participants is the traditional point of departure for the dialogical exchange. However, narrating is much more than a beginning point or the skeletal framework of events and it deserves more scholarly attention than hitherto given. Storytelling pervades the whole Socratic process and impacts the conceptual analysis in a SDG. In this article we (...) show how the narrative aspect became a rich resource for the compassionate bond between participants and how their stories cultivated the abstract reflection in the group. In addition, the aim of the article is to reveal the different layers in the performance of storytelling, or of authoring experience. By picking, poking and dissecting an experience through a collaborative effort, most participants had their initial experience existentially refined and the chosen concept of which the experience served as an illustration transformed into a moral compass to be used in self-orientation post cancer. (shrink)

In thinking of my relationship to Peter McHugh as an intimate collaboration, I take some reactions elicited to a most recent unpublished writing of his on intimacy as an occasion for discussing both intimacy and collaboration as a notion in-itself and as applicable to us in particular, treating that space between the general and particular of intimacy as its zone of fundamental ambiguity. I try to being to view a story of the imaginary of community, its elemental stirrings, that Peter (...) might appreciate. In this, I reorient Arendt’s notion of communicating with the dead to the problem of the intimate collaboration and of how each might be a practice that mirrors the other, intimate collaboration being one way of confirming the vow in communicating with the dead to witness, and reciprocally, such communication being a way of practicing intimate collaboration. This leads me to bring to view a range of unstated resonances of the discussion that have applicability to our shared history. First, is intimate collaboration possible in organizations such as the university and how does it coexist among adversarial exchanges, factitious coteries, alliances, and collegial networks? Second, is communicating with the dead another way of speaking of tradition and dissemination in any context as such and what could the manner and method of orienting to this desire say about the quality of life in commemoration per se? (shrink)

In this article, I first address the ethical considerations about football and show that a meritocratic-fairness view of sports fails to capture the phenomenon of football. Fairness of result is not at centre stage in football. Football is about the drama, about the tension and the emotions it provokes. This moves us to the realm of aesthetics. I reject the idea of the aesthetics of football as the disinterested aesthetic appreciation, which traditionally has been deemed central to aesthetics. Instead, I (...) argue that we should try and develop an agon aesthetics where our aesthetic appreciation is understood as involving and being embedded in our engagement in the game. The drama of football is staged but not scripted. The aesthetics of competitions like football matches—the agon aesthetics—lies in engaging in the conflict that a competition is, while being aware that the conflict is not over ordinary world or everyday life issues, but unnecessary and invented for the very purpose of having a conflict to enjoy. (shrink)

Philosophical anthropologies that emphasise the role of the emotions can be used to expand existing notions of moral agency and learning in situations of great moral complexity. In this article we tell the story of one patient facing the tough decision of whether to be tested for Huntington’s disease or not. We then interpret her story from two different but compatible philosophical entry points: Aristotle’s conception of Greek tragedy and Karl Jaspers’ notion of Grenzsituationen (boundary situations). We continue by indicating (...) some ways in which these two positions may be used for reflecting upon different perspectives involved in clinical decision-making, those of patients, clinicians and bioethicists. We conclude that the ideas we introduce can be used as hermeneutic tools for situating learning and dialogue within a broader cultural field in which literature and art may also play important roles. (shrink)

Pádraig Hogan; What Makes Practice Educational?, Journal of Philosophy of Education, Volume 24, Issue 1, 30 May 2006, Pages 15–26, https://doi.org/10.1111/j.146.

Is rhetoric just a new and trendy way toépater les bourgeois?Unfortunately, I think that the newfound interest of some economists in rhetoric, and particularly Donald McCloskey in his new book and subsequent responses to critics, gives that impression. After economists have worked so hard for the past five decades to learn their sums, differential calculus, real analysis, and topology, it is a fair bet that one could easily hector them about their woeful ignorance of the conjugation of Latin verbs or (...) Aristotle's Six Elements of Tragedy. Moreover, it has certainly become an academic cliché that economists write as gracefully and felicitously as a hundred monkeys chained to broken typewriters. The fact that economists still trot out Keynes's prose in their defense is itself an index of the inarticulate desperation of an inarticulate profession. (shrink)

This paper addresses the questions raised by the evidence presented that many cardinal psycho-analytic notions bear a strong resemblance to the ideas of Schopenhauer and Nietzsche. In the process, the author considers not only that the 19th century Zeitgeist, given its preoccupation with the unconscious, created a fertile ground for the birth of psychoanalysis, but the influence on the Weltanschauung of Freud, Schopenhauer and Nietzsche of their common German cultural heritage, their shared admiration for Shakespeare and love of Hellenic culture, (...) and the meteoric rise of science. Although influence may not be sharply separated from confluence, the parallels between Freud's concepts and those of Schopenhauer and Nietzsche are too specific to be coincidental. And yet, Freud vehemently denied ever having read these philosophers’ works until “very late in life”. It is suggested that an unconscious sense of guilt may have induced that denial.This study adopts a cross-sectional approach that juxtaposes Freud's cardinal concepts with the ideas of Schopenhauer and Nietzsche. Its tripartite structure has the advantage of observing similarities and differences not only between Freud and the two philosophers, but also between Nietzsche and Schopenhauer. The focal concepts include: the unconscious; ego, id and superego; libido; drives; repression; sublimation; dreams; catharsis; free association; primary and secondary process thinking; Oedipus complex; repetition compulsion; the pleasure principle; mourning and melancholia; a criminal from a sense of guilt; and the death instinct. (shrink)

Machines are often employed in Heidegger’s philosophy as instances to illustrate specific features of modern technology. But what is it about machines that allows them to fulfill this role? This essay argues there is a unique ontological force to the machine that can be understood when looking at distinctions between techne and mechane in ancient Greek sources and applying these distinctions to a reading of Heidegger’s early thought on equipment and later thought on poiesis. Especially with respect to Heidegger’s appropriation (...) of Aristotle’s conception of dunamis, it becomes apparent from a Heideggerian perspective that machines provide an increase in capacity to its human users, but only so at a cost. This cost involves a problem of knowledge where the set of operations required in machine use results in the loss of understanding our dependency on being. The essay then concludes with a discussion of how this relation to machinic capacity is not merely pessimistic and deterministic, but indicates what might constitute a free relation to machines. (shrink)

ABSTRACTThis article investigates Rancière’s understanding of the Heideggerean conception of art. It argues that Rancière is mistaken in categorizing Heidegger’s philosophy of art within the ethical regime of images, and further that his work corresponds with the central tenets of, and thus should be categorized within, the aesthetic regime of art. This is because art is understood as art, for Heidegger, when it instigates strife between world—the network of associations which constitute the horizons of a given population’s perceptual, conceptual and (...) motor possibilities—and earth—the necessarily resistant to explicit conscious acts and signification. Insofar as it is constituted by this dual relation, art puts forth a dialogically open space in which it paradoxically reinforces the boundaries of seeing, thinking and doing, yet remains heterogeneous to these modes, thereby preventing art from being reducible to the everyday. This paradoxical role, this articulation and reconfiguration that establishes a unified-character of the arts for Heidegger, performs a function that is best framed within the aesthetic redistribution-based transformative conception of art. This is because in both Heidegger and the aesthetic regime, the dialogically open space granted to art allows for cultural revolutions and paradigm shifts to take place in an indeterminable manner. (shrink)

Autobiographies are particularly interesting in the context of moral philosophy because they offer us rare and extended examples of how other people think, feel and reflect, which is of crucial importance in the development of phronesis (practical wisdom). In this article, Martha Nussbaum's use of fictional literature is shown to be of limited interest, and her arguments in Poetic Justice against the use of personal narratives in moral philosophy are shown to be unfounded. An analysis of Aristotle's concept of mimesis (...) shows that Nussbaum's claims for fictional literature also apply to personal narratives. A case is then made for the importance of personal narratives in developing practical wisdom, and three sub-genres of autobiography are discussed: (1) the confession, (2) the apology and (3) the testimonial. These sub-genres exemplify some of the unique features of personal narratives. (shrink)

This essay looks at the relationship between formative aesthetics, language and the historical anticipation that begins with Antonio Gramsci's discussion of Kant's idea of noumenon. In Gramsci both education (as formazione) and aesthetics stem from a concern for power in terms of the hegemonic relations that are inherent to history as a political horizon. The title cites Gramci's suggestion that Kant's noumenon should be read as a proviso set apart by a ‘relative ignorance’ of reality [‘relativa ignoranza’ della realtà] to (...) be resolved by a future science. Yet far from another epistemological layering, a future science must also resolve those hegemonic relations of power that emerge from formation as a political act figured in the agonistic character of language as lingua and linguaggio. Further down the lane of our ‘relative ignorance’ we are confronted by a Post-Taylorist condition that precludes any false hopes of a reversal of society's educational, economic and political misfortunes. Yet, while Post-Taylorism confirms that this state of affairs is irreversible, a deeper inquiry into the aesthetic-agonistic character of formation could afford us answers that are in no way solutions but, because adept to struggle and are characteristically aesthetical, might provide an understanding of the logic of irreversibility. Because it remains conscious of its ‘relative ignorance’, this assumption offers a hopeful approach that comes to us sideways; thereby avoiding the predicament of what Lyotard and Thébaud regarded as a condition where ‘the prescriptive is derived from the descriptive’. (shrink)

Military metaphors are pervasive in biomedicine, including HIV research. Rooted in the mind set that regards pathogens as enemies to be defeated, terms such as “shock and kill” have become widely accepted idioms within HIV cure research. Such language and symbolism must be critically examined as they may be especially problematic when used to express scientific ideas within emerging health-related fields. In this article, philosophical analysis and an interdisciplinary literature review utilizing key texts from sociology, anthropology, history, and Chinese and (...) African studies were conducted to investigate the current proliferation of military metaphors. We found the use of these metaphors to be ironic, unfortunate, and unnecessary. To overcome military metaphors we propose to give them less aggressive meanings, and/or replace them with more peaceful metaphors. Building on previous authors' work, we argue for the increased use of “journey” metaphors as meaningful, cross-culturally app... (shrink)

The aim of this paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first philosopher—and one of the first thinkers in general who focused on the issues of artistic and rhetorical genres, philosophy as such did not treat these issues for a considerably long time. One of the first philosophers who approached the genre issue within the larger context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and a literary scholar. (...) As early as the 1920s he founded philosophical thinking on the so-called small speech genres, which later served as the basis for a remarkable theory of primary and secondary genres. Bakhtin is a world renowned theoretician on the novel, but his genre theory is nevertheless very topical, too, since it relates to issues focused on by philosophers much later. (shrink)

Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and communicative act (...) that may sometimes be understood as a visually laid out argument. As a mixture of visual, auditory, and verbal stimuli, film demands active and complex interpretation and (re)construction. Our suggestion is to focus on five different but interrelated elements. The reconstruction and evaluation of the visual argument will be based on those elements, and the whole process will be one of visual argumentation. (shrink)

In his works on argumentation, Aristotle develops three main forms: apodeictical, dialectical, and rhetorical argumentation; dialectic is subdivided into several subspecies. The purpose of this paper is to discuss all of the forms described by Aristotle, to examine their differences and to point out their interrelations. This leads to an examination of the differentiating criteria and their applicability in the case of each argumentation form—and in particular to the question regarding the number of criteria that are necessary to describe each (...) form clearly and unambiguously. It is argued that Aristotle’s works on argumentation contain an implicit system of argumentation forms that is based on no more than three criteria. (shrink)