The scientific worldview is based on laws, which are supposed to be certain, objective, and independent of time and context. The narrative worldview found in literature, myth and religion, is based on stories, which relate the events experienced by a subject in a particular context with an uncertain outcome. This paper argues that the concept of “agent”, supported by the theories of evolution, cybernetics and complex adaptive systems, allows us to reconcile scientific and narrative perspectives. An agent follows a course (...) of action through its environment with the aim of maximizing its fitness. Navigation along that course combines the strategies of regulation, exploitation and exploration, but needs to cope with often-unforeseen diversions. These can be positive (affordances, opportunities), negative (disturbances, dangers) or neutral (surprises). The resulting sequence of encounters and actions can be conceptualized as an adventure. Thus, the agent appears to play the role of the hero in a tale of challenge and mystery that is very similar to the "monomyth", the basic storyline that underlies all myths and fairy tales according to Campbell [1949]. This narrative dynamics is driven forward in particular by the alternation between prospect (the ability to foresee diversions) and mystery (the possibility of achieving an as yet absent prospect), two aspects of the environment that are particularly attractive to agents. This dynamics generalizes the scientific notion of a deterministic trajectory by introducing a variable “horizon of knowability”: the agent is never fully certain of its further course, but can anticipate depending on its degree of prospect. (shrink)

This thesis presents an examination of the giallo films of Dario Argento from his directorial debut The Bird with the Crystal Plumage to The Stendhal Syndrome'. In opposition to the dominant psychoanalytical approaches to the horror film generally and Argento's giallo specifically, this thesis argues that the giallo, both textually and meta-textually, actively resists oedipalisation. Taking up from Deleuze's contention in Cinema 1: The Movement Image that the cinematic-image can be consider the equivalent to a philosophical concept, I suggest that (...) Argento's giallo are examples of what Deleuze calls cinema of the "time-image": provoked and extended "philosophical" acts of imagining the world which opens up a theoretical space of thinking differently about questions of gender and genre in horror film, which takes us beyond the fixed images of thought offered by traditional psychoanalytical and feminist paradigms of horror. In the opening chapters of this thesis, I argue that the cinematic-image has to be thought "historically", and that it is only be understanding the emergence of the "giallo" in the 1960s within the wider picture of Italian national cinema, that we can understand Argento's films as specific cultural expressions of thought, which are not reducible to paradigms based upon analyses of the more puritan and fixed American horror film. In my subsequent discussion of Argento's "Diva" trilogy, I consider an assemblage of Deleuzian becoming and poststructuralist feminist thought as a mechanism through which to explore the increasingly feminised and feminist spaces of his later work. This thesis concludes by assessing Argento's critical and creative legacy in films such as Toshiharu Ikeda's Evil Dead Trap and Cindy Sherman's Office Killer. In these terms, a Deleuzian "approach", enables a set of readings, which open up the texts to a more productive consideration of their appeal, in a way which other more traditional approaches do not, and cannot, account for. The close textual and historical analysis demanded by Deleuze is both a reconsideration of the [feminist] politics of Argento's work, and a response to criticisms of misogynism. (shrink)

The thesis contends that education and literary studies can make a valuable contribution to ethics and ethical development of persons, their relations with others and with the world. It promotes an approach to ethics education through dialogic enquiry based on theories and practices associated with comparative literature and philosophical enquiry. These involve students sharing experiences and meanings as they participate in interpretive communities and communities of philosophical enquiry. There are two main components to the research: ethically focused studies of literary (...) texts and the design, implementation and evaluation of a module in Ethics Education using literature and film as stimuli for Dialogic Enquiry. The literary analyses are influenced by reader-response theory. While recognizing the importance of the author or the contexts of production and receptions of texts, reader-response theory focuses on the experience of the reader as she/he responds to literary texts, and on her/his role in actively co-authoring the meaning of texts. Readers may form or join interpretive communities that share an ethos of practice. The literary narrative fictions studied include fairy tale, contemporary European cinema and neo-Western crime drama, each of which offers a valuable way of thinking about education. The module in ethics education, designed for Transition Year students, is based on movements in Philosophy with Children. Students formulate and explore ethical questions raised in response to themes or issues of literary texts. Dialogic communities of ethical inquiry may emerge from this. Students, participating in these dialogic communities of ethical inquiry, get to test out and develop their moral sense, understood in terms of reason, feeling, memory and imagination. The literary analyses demonstrate the ethically educative promise of literary texts, and the responses of students to this course and the growth of their ethical engagement suggest that this is a promising approach to ethics education. Such an educational experience may be ethical in matter, theory and practice and continue to find expression as praxis beyond the covers of books and walls of classrooms. (shrink)

If you have been reading, to date, in the Journal of Applied Hermeneutics, Dr. John Williamson’s PhD thesis-come-novel serialized, then you have read, more or less, four texts: Guest Editorial: Preface to “A Strange and Earnest Client” Part One of the Case of the Disappearing/Appearing Slow Learner: An Interpretive Mystery by W. John Williamson [January 11, 2016]; The Case of the Disappearing/Appearing Slow Learner: An Interpretive Mystery. Part One: A Strange and Earnest Client [January 11, 2016]; Invited Guest Editorial. Lives (...) Worthy of Life: The Everyday Resistance of Disabled People by Nick Hodge [February 22, 2016], and The Case of the Disappearing/Appearing Slow Learner: An Interpretive Mystery. Part Two: Cells of Categorical Confinement [February 22, 2016]. My name is Jim Paul. I am the Invited Guest Editorial provider for the third installment of John’s work titled - Part Three: All Hell Could Break Loose. (shrink)

Why are bookstore shelves filled with mysteries, horror stories, romances, Westerns and other genre fiction? Why should one spend time reading narratives that are so similar? Why, for that matter, should one write works that are so similar to those of other authors? One philosopher, Noel Carroll, in fact, refers to the phenomenon as the ?paradox of junk fiction?. Are there works in political theory as well that share characteristics with these genres? And is there also a paradox involved among (...) both these readers and authors? This essay reviews both the criticisms and defenses of popular generic texts focusing on arguments that defend the complexity of genre texts and those that deny the distinction between generic works and others. Utopias are identified as counterparts in political theory and are applied to this genre debate. I conclude by revising the genre paradox. (shrink)

The quarrel between Plato and the poets in the Utopia and try to exclude them from there is a very important subject in the Republic. He in the book III explains the limits for poems and determines the poems that can be read for youths and the poems that cannot be read for them. This radical Platonic approach to the poets and their poems can be linked today to the many different media especially TV and its programs. In Plato's view, (...) our reaction to the different events in the everyday life is a copy of our reaction to the poem. This problem is today linked to the TV and other social media like cinema. TV in only an instrument for distribution and transmission, and does not present any new method for interpreting reality. In another word, TV only present reality as it is and TV is like the Platonic poet in this respect. We can recite the Platonic objection on poem, also on the TV and its functions. In the present article we will try to survey the nature and the functions of TV by the Platonic method of critiquing poets in the Utopia. (shrink)