Wolterstorff defends the claim not only that ‘God speaks’ through the Bible but also that the reader gains ever new insights upon subsequent readings of it. I qualify this project with the philosophical hermeneutics he rejects—namely that of Gadamer and Ricoeur. Wolterstorff thinks what he calls ‘authorial discourse interpretation’ provides warrant for religious communities believing that ‘God speaks’ to them through a text. In developing this hermeneutic, he dismisses the viability of Gadamer and Ricoeur's approach because, Wolterstorff asserts, their form (...) of interpretation is merely an operation performed on an artifact. While a cursory study of Gadamer and Ricoeur might support such dismissal, particularly Ricoeur's emphasis on writing's obliteration of dialogue, a closer study guided by the hermeneutic priority of questioning complicates Wolterstorff's caricature. If writing obliterates dialogue, what happens to questions and responses? My thesis is that dialogue with another is preserved through the hermeneutical arc. I demonstrate this through specifying distinct logics of question and answer that occur in the reading process, and I delimit these logics by way of appeal to contemporary literacy pedagogy and its taxonomies of questions. A voice does speak with and listen to a reader in the event of reading, in this case a God who is not behind but before the text. Isolating this other who speaks and listens provides reinforcement for constructive theological work aligned with Gadamer and Ricoeur's hermeneutics, and answers for the experience of hearing ‘God speak’ differently through sacred texts. (shrink)

In this article I ask how fruitful the concept of alienation can be for thinking critically about the nature and causes of the contemporary environmental crisis. The concept of alienation enables us to claim that modern human beings have become alienated or estranged from nature and need to become reconciled with it. Yet reconciliation has often been understood—notably by Hegel and Marx—as the state of being ‘at-home-with-oneself-in-the-world’, in the name of which we are entitled, perhaps even obliged, to overcome anything (...) in nature that is alien to the human mind. This approach to alienation derives ultimately from the German Idealist philosopher J. G. Fichte. I explore an alternative conception of alienation and reconciliation to be found in the work of the Early German Romantics, especially Friedrich Schlegel and Novalis. The Romantics think of reconciliation as including a dimension of alienation, in the form of an awareness that nature is greater than and exceeds the understanding of human beings, insofar as we are merely limited parts of the all-encompassing whole that is nature. I argue that this is a more fruitful approach to alienation and reconciliation than that pursued by Fichte, Hegel, and Marx. (shrink)

'Where am I?' This is something we might expect to hear from hapless explorers or academics with no sense of direction. If we can, we'll explain to our inquirer that he is east of East St. Louis and hope he can find his way from there. If he persists, insisting that he is not really lost, but only cannot find himself no matter how hard he looks, we might reasonably suspect that we are dealing with that peculiarly incorrigible academic explorer, (...) the philosopher. When we hesitantly point to his body, we hear him explain, exasperated, 'No, don't you get it? That's my body, but I'm looking for my self! And I cannot find it!' At this point it is tempting to slip away, convinced that our philosophical friend is .. (shrink)

Should the development of pharmacological cognitive enhancers raise worries about doping in cognitively demanding activities? In this paper, we argue against using current evidence relating to enhancement to justify a ban on cognitive enhancers using the example of chess. It is a mistake to assume that enhanced cognitive functioning on psychometric testing is transferable to chess performance because cognitive expertise is highly complex and in large part not merely a function of the sum specific sub-processes. A deeper reason to doubt (...) that pharmacological cognitive enhancers would be as significant in mind sports is the misleading parallel with physical enhancement. We will make the case that cognitive performance is less mechanical in nature than physical performance. We draw lessons from this case example of chess for the regulation of cognitive enhancement more generally in education and the professions. Premature regulation runs the risk of creating a detrimental culture of suspicion that ascribes unwarranted blame. (shrink)

ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only a few years before his untimely death at the age of fifty-three. But he brought to the new medium certain lasting preoccupations. This account begins with the contention that Münsterberg's intervention in the cinema discussion pursued his well-established strategy of pitting a laboratory model against a clinical one, (...) in this case the “master-trope” of early cinema a spectatorship drawn from hysteria, hypnosis, and related phenomena like double-consciousness. Münsterberg's laboratory-oriented account also flowed from his account of cinema technology as an outgrowth of the apparatus of his own discipline of experimental psycho-physiology, which entailed a model of cinema spectatorship continuous with the epistemological setting of laboratory relations. I argue that inThe Photoplayand related writings projection functioned in three registers: material, psychological, and philosophical. Münsterberg's primary concern was with psychological projection, where he drew upon his own work in experimental aesthetics to articulate an account of how the basic automatisms of cinema produce a state of oscillation between immersion and distraction. I show how Münsterberg's experimental aesthetics drew upon German doctrines of aesthetic empathy, orEinfühlung, which Münsterberg sought to modify in accordance with the dynamic and temporal characteristics of psycho-physiological experiment. Finally, I argue that Münsterberg's cinema theory was enfolded in his action or double-standpoint theory, in which the transcendental self posits the material, objective conditions of laboratory experience as a means to know itself. This philosophical projection explained cinema's uncanny ability to suspend ordinary perceptions of space, time, and causality. It also made cinema uniquely suited for the philosophical emancipation of a popular mass audience. (shrink)

(2003). The World as Representation: Schopenhauer's Arguments for Transcendental Idealism. British Journal for the History of Philosophy: Vol. 11, No. 1, pp. 57-87.