This paper is a cultural studies analysis of the Microsoft computer video game, ZooTycoon™. Through a critical reading using the "circuit of culture," questions of the gamer's subject position, the role of wildlife and implicit and explicit messages about contemporary attitudes toward the environment are explored. Drawing on Susan Davis' book, Spectacular Nature: Corporate Culture and the Sea World Experience (1997), this paper unpacks the virtual theme parks created in Zoo Tycoon™ for their (dis) continuities with Davis's findings. The virtual (...) animals are found to serve as both labor and products in this game that teaches capitalist business strategy and managerial skills. This popular culture text is an example of a product that harnesses the environmental impulse and redirects that impulse back into commodity capitalism. (shrink)

: This paper is a cultural studies analysis of the Microsoft computer video game, ZooTycoon™. Through a critical reading using the "circuit of culture," questions of the gamer's subject position, the role of wildlife and implicit and explicit messages about contemporary attitudes toward the environment are explored. Drawing on Susan Davis' book, Spectacular Nature: Corporate Culture and the Sea World Experience (1997), this paper unpacks the virtual theme parks created in Zoo Tycoon™ for their (dis)continuities with Davis's findings. The virtual (...) animals are found to serve as both labor and products in this game that teaches capitalist business strategy and managerial skills. This popular culture text is an example of a product that harnesses the environmental impulse and redirects that impulse back into commodity capitalism. (shrink)

The films The Bling Ring, Spring Breakers, and Drive, were all dismissed for their depthlessness. This article argues that we need to explore the depths and variety of their engagement with surface in order to fully appreciate what these films are trying to say. The article proposes that these films in fact employ three different “strategies” of surface engagement, in and through their aesthetics; The Bling Ring relies on a sense of “skimming”, Spring Breakers engages ideas of “drifting”, while Drive (...) promotes a sense of “gliding” or “coasting”. Analysis of these strategies of surface aesthetics reveals that the films make dialectic categories of depth and surface, sign and meaning, form and content, indistinguishable, and it is precisely in doing so that they offer complex critique on the crimes they display, and the state of our current hyper-mediated and networked world. These films are not only about the stories they tell but abo... (shrink)

The purpose of the present study is to serve as an introduction to a postmodern reading of Edgar Allan Poe’s short prose. Adventurous approach, as the author manifested himself as a writer in the first part of the 19th century, when romanticism revived and modern paradigm was founded. Based on the assessments expressed on postmodernism and using the tools proposed by various field researchers, we discover in Poe’s work anticipations of the narrative structure method specific for our present times. His (...) concern for the newspaper reader, the insertion of general press topics and articles in his prose, the use of the sensational side of events in his newspaper reports, the ironic approach of real and diegetic facts allow a fresh reading, revaluating this surprising writer. Remarkable are his projections which come close to the SF genre, his confidence in the progress of science and the permanent impairment of this confidence, generated by the fear of world destruction. The conclusion would be that Poe’s prose allows certain postmodern anticipative projections to be decoded and the research to be extended beyond the conventional boundaries of modernity. (shrink)

Modernist educational practice operates within an overarching norm of consonance, notions of sameness and agreement that permeate schools and classroom life. This paper posits a needed move to postmodern educational theory and practice through dissonance. Following an intellectual contextualization, two sets of philosophical claims are presented. The first promotes social construction of reality and the second poses dissonance rather than consonance. The paper concludes with a “look” at education from this postmodern perspective.

This essay examines some of the arguments in David Deutsch's book The Fabric of Reality , chief among them its case for the so-called many-universe interpretation of quantum mechanics (QM), presented as the only physically and logically consistent solution to the QM paradoxes of wave/particle dualism, remote simultaneous interaction, the observer-induced 'collapse of the wave-packet', etc. The hypothesis assumes that all possible outcomes are realized in every such momentary 'collapse', since the observer splits off into so many parallel, coexisting, but (...) epistemically non-interaccessible 'worlds' whose subsequent branchings constitute the lifeline-or experiential world-series- for each of those proliferating centres of consciousness. Although Deutsch concedes that his 'multiverse' theory is counter-intuitive, he none the less takes it to be borne out beyond question by the sheer observational/predictive success of QM and the conceptual dilemmas that supposedly arise with alternative (single-universe) accounts. Moreover, he claims the theory resolves a range of longstanding philosophical problems, notably those of mind/body dualism, the various traditional paradoxes of time, and the freewill/determinism issue. The essay suggests on the contrary, that Deutsch unwittingly transposes into the framework of presentday quantum debate speculative themes from the history of rationalist metaphysics, often with bizarre or philosophically dubious results, and that he rules out at least one promising rival account, namely Bohm's 'hidden variables' theory. It goes on to consider reasons for resistance to that theory among proponents of the 'orthodox' (Copenhagen) doctrine, and for the strong anti-realist, at times even irrationalist bias that has characterized much of this discussion since Bohr's debates with Einstein about quantum non-locality, observer-intervention, and the limits of precise measurement. Finally, the contrast is pointed out between Deutsch's ontologically extravagant use of the many-worlds hypothesis (akin to certain ideas advanced by speculative metaphysicians from Leibniz down) and those realist modes of counterfactual reasoning- e.g. in Kripke and the early Putnam- which deploy similar arguments to very different causal-explanatory ends. (shrink)

This article considers Kate Walbert’s A Short History of Women (2009), a novel that tells the stories of a hunger striking suffragette and four generations of her female descendants. Tracing feminist history through female genealogy, Walbert’s historiographic metafiction helps us think through the perils and potentials of the generational methods that have long dominated feminist historiography. Critically engaging with what has arguably become a feminist family drama, the novel makes an invaluable contribution to contemporary feminist theory and feminist historiography, illustrating (...) of feminist genealogies as simultaneously fruitful and fraught, limiting and liberating and yet inescapable and useful. (shrink)

The idea of narrative has been widely discussed in the recent health care literature, including nursing, and has been portrayed as a resource for both clinical work and research studies. However, the use of the term 'narrative' is inconsistent, and various assumptions are made about the nature (and functions) of narrative: narrative as a naive account of events; narrative as the source of 'subjective truth'; narrative as intrinsically fictional; and narrative as a mode of explanation. All these assumptions have left (...) their mark on the nursing literature, and all of them (in our view) are misconceived. Here, we argue that a failure to distinguish between 'narrative' and 'story' is partly responsible for these misconceptions, and we offer an analysis that shows why the distinction between them is essential. In doing so, we borrow the concept of 'narrativity' from literary criticism. Narrativity is something that a text has degrees of, and our proposal is that the elements of narrativity can be 'sorted' roughly into a continuum, at the 'high narrativity' end of which we find 'story'. On our account, 'story' is an interweaving of plot and character, whose organization is designed to elicit a certain emotional response from the reader, while 'narrative' refers to the sequence of events and the (claimed) causal connections between them. We suggest that it is important not to confuse the emotional persuasiveness of the 'story' with the objective accuracy of the 'narrative', and to this end we recommend what might be called 'narrative vigilance'. There is nothing intrinsically authentic, or sacrosanct, or emancipatory, or paradigmatic about narrative itself, even though the recent health care literature has had a marked tendency to romanticize it. (shrink)

Publication date: 30 March 2017 Source: Author: Khalid El Aref This essay tackles the way the postcolony is refigured in Waciny Laredj’s Aṣābiʿ Lūlītā. It makes use of a number of theoretical insights to uncover the interplay between the representation of the colony during the colonial period through a brief examination of the fly metaphor in Nedjma, first published in 1956, and that of the postcolony. Relying on intertextuality, the essay attempts to highlight how the metaphor of the femme fatale, (...) a key trope in Nedjma, is relocated in the interstices between national and transnational ways of constructing Arab identity that continues to be both here and there. The intertextual nature of Aṣābiʿ complicates the postcolony as it rewrites it. This rewriting seems to highlight the tragic position of Arab characters that continue to vacillate between a traditional past and a postmodern present. Thus, Waciny Laredj subverts the femme fatale trope by making it literal and ends up shaking the very basis of the postcolonial state. (shrink)

In his exploration of Milan Kundera’s work, Jason Wirth inquires into the “borderlands” between philosophy and the novel. In this essay, I write as a novelist whose work is rooted in philosophy. I am thereby accepting the open invitation extended by Wirth’s book: an invitation to deepen the fertile conversation between philosophy and literature.

To what extent can humorism be a legitimate disposition toward the Absurd? The Absurd is born from the insurmountable contradiction between one’s ceaseless striving and the absence of an ultimate resolution – or, as I prefer to call it, the ‘dissolution of resolution’. Humoristic Absurdism is the commitment to a pattern of humorous responses to the Absurd, which regard this absurd condition, as well as its manifestation in absurd situations, as a comical phenomenon. Although the humoristic disposition seems promising, by (...) virtue of humor’s recognition of incongruity and its denial of an ultimate resolution, and succeeds in countering three major objections, it falls prey to the claim that comprehensive humorism portrays as frivolous what is earnest, thereby renouncing the gravity of the desire for ultimate resolution, which is fundamental to the notion of the Absurd. In an attempt to explore alternative roles for humor in a legitimate disposition toward the Absurd, Metamodern Absurdism is suggested, which revolves around a post-ironic oscillation between humor and earnestness. In short, only in a role limited to one pole of an oscillatory pattern of responses can humor be integrated in a legitimate disposition toward the Absurd. (shrink)

Proceedings of the Sixth Argumentor Conference held in Oradea/Nagyvárad, Romania, 11–12 September 2020.

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen through (...) the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)

Translated from: W.V.O.Quine, W. H. O. (1986): Philosophy of Logic. Second Edition. Harvard University Press. Cambridge, Massachusetts and London, England, 47-61.

This paper is a fragmented exploration of Jean Baudrillard’s theory of consumption, one that belongs to his early writings. Even though they became commonplaces inside the analysis of contemporary society, themes such as the consumption, the daily life or the evolution of advertising have not lost their theoretical and interpretive potential. Thus, my reading of Baudrillard’s work has a double stake. First, I want to see to what extent Baudrillard’s ideas fit a more general model of interpretation that is to (...) be found in the writings of other French contemporary philosophers, as well. Second, I am interested in the way the development of the theory of consumption makes Baudrillard see a few cracks in the façade of some important hermeneutical filters. (shrink)

The book is an attempt to explore the affinities between contemporary critical theories and modernist and postmodernist American poetry. The analysis focuses on poststructuralist theories, notorious for their tendency to destabilize generic boundaries between literary, philosophical and critical discourses. The main argument and the structure of the book derive from Jacques Derrida’s essay “Che cos’è la poesia” [What is poetry?] in which the philosopher postulates the impossibility of defining poetry by comparing a poem to a hedgehog – prickly, solitary, untamed, (...) fragile and protective, rolling itself up into a ball at the first sign of danger or when in the hands of the reader-intruder. The metaphor captures thus the fragility of the relationship between poetry and the world. The book examines this relationship as exemplified by the erinaceous poetics of high modernists and their postmodernist followers In the study I employ also other oststructuralist theories, such as the notion of the text and the pleasure of the text formulated by Roland Barthes, the heories of metaphor as seen by Paul Ricoeur or Paul de Man, and gender-sensitive theories of Helene Cixous and Luce Irigaray. (shrink)