Aesthetic reasons are reasons to do and think various things. For example, it makes sense to wonder if a tree stump on the lawn was left there for environmental rather than aesthetic reasons, or for no reason at all. Aesthetic considerations of this kind are often contrasted with non-aesthetic reasons—such as moral or epistemic reasons. For example, they seem connected to pleasure-in-experience in a distinctive way that differs from paradigmatic moral reasons. Relatedly, the authority of aesthetic reasons has often been (...) thought to involve less of an “external demand” upon us than in the other cases. In this chapter, I suggest that such distinctiveness and modesty coheres well with an anti-realist treatment that views them as non-objective in nature. I then go on to consider an alternative, more robustly realist conception of aesthetic reasons. (shrink)

Prior to the nineteenth century, those who are now regarded as scientists were referred to as natural philosophers. With empiricism, science was claimed to be a superior form of knowledge to philosophy, and natural philosophy was marginalized. This claim for science was challenged by defenders of natural philosophy, and this debate has continued up to the present. The vast majority of mainstream scientists are comfortable in the belief that through applying the scientific method, knowledge will continue to accumulate, and that (...) claims to knowledge outside science apart from practical affairs should not be taken seriously. This is referred to as scientism. It is incumbent on those who defend natural philosophy against scientism not only to expose the illusions and incoherence of scientism, but to show that natural philosophers can make justifiable claims to advancing knowledge. By focusing on a recent characterization and defense of natural philosophy along with a reconstruction of the history of natural philosophy, showing the nature and role of Schelling’s conception of dialectical thinking, I will attempt to identify natural philosophy as a coherent tradition of thought and defend it as something different from science and as essential to it, and essential to the broader culture and to civilization. (shrink)

The existence of evil is often held to pose philosophical problems only for theists. I argue that the existence of evil gives rise to a philosophical problem which confronts theist and atheist alike. The problem is constituted by the following claims: (1) Successful human beings (i.e., those meeting their basic prudential interests) are committed to a good-enough world; (2) the actual world is not a good-enough world (i.e., sufficient evil exists). It follows that human beings must either (3a) maintain a (...) state of epistemic ignorance regarding the nature of the actual world or (3b) abandon their basic prudential interests. Theists resolve this problem by rejecting (2), only to confront the problem of evil as it is traditionally understood. Successful atheists also reject (2), but without adequate grounds for doing so. (shrink)

Intense aesthetic experiences are often described in terms of self-forgetfulness, where the perceiver becomes immersed in the aesthetic phenomenon to the extent of losing consciousness of being the subject of the experience. Although such experiences have been described from the early eighteenth century onwards, there is still a surprising lack of detailed investigation on the precise nature of aesthetic self-forgetfulness. What happens in this experience, and precisely what is the ‘self’ that is forgotten? Building on phenomenological theories of self-consciousness, I (...) argue that aesthetic self-forgetfulness cannot be understood as an absolute eradication of the self, as a pre-reflective self-consciousness stays intact even in deeply immersive aesthetic experiences. Thus, I argue that talk of self-forgetfulness is to some extent misleading, and the changes in the subject’s self-relation during aesthetic experience is better understood in terms of an altered sense of agency. (shrink)

ABSTRACT ABSTRACT: Nietzsche, we are often told, had an account of 'self' or 'mind' or a 'philosophical psychology', in which what he calls our 'drives' play a highly significant role. This underpins not merely his understanding of mind, in particular, of consciousness and action. but also his positive ethics, be they understood as authenticity, freedom, knowledge, autonomy, self-creation, or power. But Nietzsche did not have anything like a coherent account of 'the drives' according to which the self, the relationship between (...) thought and action, or consciousness could be explained; consequently, he did not have a stable account of drives on which his positive ethics could rest. By this, I do not mean that his account is incomplete or that it is philosophically indefensible: both would leave open, misleadingly, the possibility of a rational reconstruction of Nietzsche’s views; both would already assume more unity and coherence than we find in his texts. Specifically, as I show through detailed analysis, Nietzsche provides varied and inconsistent accounts of what a 'drive' is, how much we can know about drives, and the relationship between drives and conscious deliberations about action. I conclude by questioning the hunt for a Nietzschean theory: is this the best way to be reading him? (shrink)

Traditional epistemology is often said to have reached an impasse, and recent interest in virtue epistemology supposedly marks a turn away from philosophers’ traditional focus on problems of knowledge and truth. Yet that focus re-emerges, especially among ‘reliabilist’ virtue epistemologists. I argue for a more ‘responsibilist’ approach and for the importance of some of the quieter and gentler epistemic virtues, by contrast with the tough-minded ones that are currently popular in education. In particular I make a case for what I (...) here call ‘unknowing’: a positive state that is not the same as ignorance. I acknowledge the mystical connotations of the term, and suggest that there is a strong interest in unknowing in writers such as Plato, Kierkegaard and Nietzsche. In their style of philosophising they also address the paradox of being knowing about unknowingness itself. (shrink)

This article explores the story of ‘the other Mersault’ whose narrative is published in the posthumous and arguably incomplete work A happy death. That this work is incomplete and that it appears to be a precursor to The outsider, has arguably limited scholarly analysis of its character and plot. However, the themes that are explored in A happy death are significant in their distinction to those themes that are experienced by the other, younger, Meursault. In A happy death the world (...) must be conquered by the will of a young man to find his happiness. He is not an outsider, and he is not content with his lot. Given an opportunity to address this latter concern, he acts upon his life in a search for happiness and in so doing engages in an ultimately frustrating, yet in some way enlightening, quest. In this article Mersault’s search for happiness is plotted in relation to his thinking about time, childhood, happiness and death. His journey is considered in relation to other stories of the search for some greater human condition. It is argued that his will to be happy reveals the absurdity of searching or not searching. This absurdity is considered in relation to the nature and purpose of school in the sense that such a relation to the search for knowledge might free school from its disciplinary tasks … and frees the learner, the child, the teacher, from the violence of having to want to know. (shrink)

What is the aim of philosophy? There may be too many philosophical branches, traditions, practices, and programs to admit of a single overarching aim. Here I focus on a fairly traditional philosophical project that has recently received increasingly sophisticated articulation, especially by Frank Jackson (1998) and David Chalmers (2012). In §1, I present the project and suggest that it is usefully thought of as ‘total axiomatics’: the project of attempting to axiomatize the total theory of the world. In §2, I (...) raise a problem for the project that I call the ‘problem of multiple axiomatizations.’ I consider some initially alluring but ultimately unpromising approaches to this problem in §3. In §4, I defend a surprising approach to the problem, according to which competing axiomatizations of the total theory of the world are effectively evaluated for their aesthetic virtues. (shrink)

Recent decades have witnessed a flurry of interest in Nietzsche's metaethics — his views, if any, on metaphysical, epistemological, semantic, and psychological issues about normativity and normative language and judgment. Various authors have highlighted a tension between Nietzsche's metaethical views about value and his ardent endorsement of a particular evaluative perspective: Although Nietzsche makes apparently "antirealist" claims to the effect that there are no evaluative facts, he vehemently engages in evaluative discourse and enjoins the "free spirits" to create values. Nearly (...) every major type of metaethical "-ism" has been ascribed to Nietzsche in response. This chapter provides a critical introduction to Nietzsche's metaethics, focusing on matters concerning the nature and grounds of normativity. I begin by examining and raising challenges for Nadeem Hussain's prominent interpretation of Nietzsche as a revolutionary fictionalist. I argue that a constructivist interpretation (developed elsewhere) provides an improved account of the connections, for Nietzsche, between evaluative attitudes and the nature of value, and among practical nihilism, art, and value creation. Values, on this view, are treated as grounded purely in facts about creatures’ evaluative attitudes. The chapter concludes by considering several alternative subjectivist, constitutivist, and non-cognitivist interpretations. A nuanced understanding of the space of metaethical theories brings into relief a plausible normative and metanormative view that we can attribute to Nietzsche. (shrink)

In his 2010 article, ‘Secular Spirituality and the Logic of Giving Thanks’, John Bishop recalls a striking theme in a recent address by Richard Dawkins in which he appeared to enthusiastically endorse the appropriateness of a ‘naturalised spirituality’ that involved ‘existential gratitude’, and this led him to investigate the notion of a naturalised or secular spirituality with particular reference to Robert Solomon’s Spirituality for the Skeptic (2002). This essay looks to pick up on Bishop’s engagements with both Dawkins and Solomon, (...) but to extend the conversation well beyond them in order to defend the credibility and integrity of secular spirituality in its movement of ontological gratitude. In this way it looks to offer a first sketch of what might be termed a ‘hermeneutics of ontological gratitude’. To this end – and via a distinction between gratitude for existence and life – the essay considers Dawkins’ argument and Solomon’s work in further detail, before turning to consider various other perspectives on the problem including Kenneth Schmitz’s existential Thomist notion of ontological contingency, Hannah Arendt’s concept of primary natality, and Emmanuel Levinas’ sketch of the self in its interiority and economy. My claim is that any serious naturalistic spirituality needs to take into account not only a gratitude for one’s existence per se, but for the whole context of individual and collective being. (shrink)

The aim of this paper is to explore why Deleuze takes up Hamlet's claim that ‘time is out of joint’. In the first part of this paper, I explore this claim by looking at how Deleuze relates it to Plato's Timaeus and its conception of the relationship between movement and time. Once we have seen how time functions when it is ‘in joint’, I explore what it would mean for time to no longer be understood in terms of an underlying (...) rational structure. The claim can be understood as about a relationship between time and action. In the second part of this paper, I want to relate this new understanding of time to Hamlet itself, in order to see how temporality operates within the play. I will conclude by relating these two different conceptions of time out of joint to one another through Nietzsche's eternal return. (shrink)

This is the second of two articles that are connected in a reading of The plague by Albert Camus. The other article is a determined narration of the events of a tragedy that befalls a city on the coast of Algeria. That article resists analysis beyond the decisions that are made regarding text to use, and of course interpretations to make. This article is juxtaposed to the first, with the intention of taking key themes of education and narration and considering (...) them within the context of another tragedy and another kind of narration. In this article the narratives of government education policy are considered in relation to the event of a tragic earthquake in Christchurch, New Zealand. The government narratives are then replaced by the narratives of Oran to consider alternative ways of thinking about tragedy and education and in particular to think about the ways in which the narrative relates to the tragedy and to any learning that might happen as a result of, and during, a tragedy. (shrink)

This article examines the role and value of defiance in sport. I argue that defiance is a virtue in sport and make a case for it as a spirited and praiseworthy way of counteracting burdened conditi...

Today professionals have to deal with more uncertainties in their field than before. We live in complex and rapidly changing environments. The British philosopher Ronald Barnett adds the term ‘supercomplexity’ to highlight the fact that ‘we can no longer be sure how even to describe the world that faces us’ (Barnett, 2004). Uncertainty is, nevertheless, not a highly appreciated notion. An obvious response to uncertainty is to reduce it—or even better, to wipe it away. The assumption of this approach is (...) that uncertainty has no advantages. This assumption is, however, not correct as several contemporary authors have argued. Rather than problematising uncertainty, I will investigate the pros and cons of embedding uncertainty in educational practice of professional higher education. In order to thoroughly explore the probabilities and challenges that uncertainty poses in education, I will dwell on the radical ideas on uncertainty of the German philosopher Friedrich Nietzsche. In The Birth of Tragedy (1872) he recognises two forces: the Apollinian, that is the pursuit of order and coherence, and the Dionysian, that is the human tendency to nullify all systematisation and idealisation. Uncertainty is part of the Dionysian. I will argue that when educators take Nietzsche's plea to make room for the Dionysian to heart, they can better prepare students for an uncertain world. If, and only if, students are encouraged to deploy both tendencies—the Apollinian and the Dionysian—they can become professionals who are able to stand their ground in an uncertain and changing (professional) world. (shrink)

This essay focuses on Schopenhauer’s aesthetics and philosophy of art, areas of his philosophy which have attracted the most philosophical attention in recent years. After discussing the subjective and objective aspects of aesthetic experience on his account, I shall offer interpretations of Schopenhauer’s theory of the sublime and solution to the problem of tragedy. In addition, I shall touch upon the liveliest interpretive debates concerning his aesthetic theory: the intelligibility of the “Platonic Ideas” as the objects of aesthetic experience and (...) the very possibility of aesthetic experience within Schopenhauer’s system. Another aim of this essay is to suggest how some of Schopenhauer’s aesthetic doctrines may be interpreted in a less metaphysically extravagant way. When understood in this manner, contemporary aestheticians might be inclined to take a closer look at Schopenhauer’s aesthetic theory and philosophy of art, for it is distinctive in the tradition of Western philosophical aesthetics in its attempt to highlight and balance the hedonic and cognitive importance of aesthetic experiences; in its sensitivity both to the aesthetic experience of nature as well as of art; in the high value placed on the experience of music ; and in the innovative solution to the problem of tragedy it offers. (shrink)

This paper explores Nietzsche's account of the free spirit's genesis, as primarily given in the 1886 prefaces written for the works of his ?free spirit trilogy?. In particular, it will focus on how what will be argued is the free spirit's distinguishing capacity for radical questioning is created out of the process described there. That is, it will examine how what Nietzsche calls, ?the experience of sickness?, in enabling the free spirit's liberation, helps forge a mode of philosophical awareness which (...) is not otherwise attainable. However, the second half of this paper goes on to explore how the success of this process is endangered by a certain psychological tendency to which free spirits are susceptible. In other words, the free spirit's chance of enduring those painful depths of sickness necessary for liberation is threatened by the appeal of ?romantic pessimism?; a perspective which offers consolation by idealizing the sufferer's state. As such, then, in our final section, we will examine Nietzsche's efforts to combat this phenomenon. In particular, we will look at his advocacy of a specific kind of asceticism for this purpose, and with it his attempt to show how a true liberation of the spirit can be achieved. (shrink)

Argues that a coherent theory of ethics requires an account of selfhood.

ABSTRACTA Danish fitness chain recently introduced a new concept called Bubbles & Squat. Here, fitness training is combined with free champagne and music. In this paper, we examine this new way of bringing parties, alcohol and physical culture together by exploring the possible meaning of it through existential philosophical analysis. We draw in particular on Nietzsche’s distinction between the Apolline and the Dionysiac, as well as his account of great health. On this basis, we analyse Bubbles & Squat as a (...) case of Dionysiac intoxication, excess and ecstasy sneaking into contemporary Apolline fitness culture. In the last part of the paper, we raise the question if adding parties and bubbles to fitness training may, perhaps paradoxically, be healthy for the participants in an existential sense because it contributes to existential balance between the Dionysiac and the Apolline. We conclude that the philosophical framework presented in this paper can contribute to a new understanding of a general physical c... (shrink)

This essay contrasts Nietzsche’s remarks on elite education with W.E.B. Du Bois’ demand for democratized education. The essay takes their remarks as springboards for a twenty-first century philosophy of education rather than an historical account of their philosophies. Both thinkers cultivated Kant and Hegel’s dream that the spirit of freedom guided by reason would unite all the world’s peoples. Both held that education was key to realizing the dream. Their judgments about qualifying for education separated them. Nietzsche insisted that only (...) the elite should receive the fullest measure of education. Du Bois believed that in the future virtually every human being would receive a university-level education. The essay’s principal point is to show how contemporary technology can make Du Bois’ dream a reality. An African philosopher’s working model demonstrates a path to universal university education. (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

This paper offers an intellectual portrait of the French psychoanalyst, Jacques Lacan, by considering his incorporation of perspectives associated with “modernism,” the artistic and intellectual avant-garde of the first half of the twentieth century. These perspectives are largely absent in other alternatives in psychology, psychiatry, and psychoanalysis. Emphasis is placed on Lacan’s affinities with phenomenology, a tradition he criticized and to which he is often seen as opposed. Two general issues are discussed. The first is Lacan’s unparalleled appreciation of the (...) paradoxical nature of human experience, together with his treatment of paradox as almost a criterion of truth. These points are illustrated by considering Lacan’s conceptions of the self and of erotic desire. The second issue is Lacan’s focus on the “ontological dimension,” on overall styles or modalities of what might be termed “transcendental subjectivity”: namely, what he calls the registers of the “Imaginary,” the “Symbolic,” and the “Real.” By emphasizing the incommensurable yet interdependent nature of these modalities, Lacan offers a synthesis of dynamic/conflictual and formal/ontological dimensions of the human condition. This paper offers an encompassing portrait of Lacan’s major ideas that is at odds with the widespread assumption that Lacan is somehow a deeply anti-humanist thinker who derides the subjective dimension. Lacan’s most distinctive contributions are fundamentally concerned with the nature of human experience. They show strong affinities with hermeneutic forms of phenomenology inspired by Heidegger, a philosopher who focused on ontological modes of Being and considered paradox as a mark of truth. (shrink)

In Nietzsche, ‘European nihilism’ has at its core valuelessness, meaninglessness and senselessness. This article argues that Nietzsche is not replacing God with the nothing, but rather that he regards ‘European nihilism’ as an ‘in-between state’ that is necessary for getting beyond Christian morality. An important characteristic of a Nietzschean philosopher is his ‘will to responsibility’. One of his responsibilities consists of the creation of the values and the concepts that are needed in order to overcome the intermediate state of nihilism. (...) For prevailing over nihilism in science, Nietzsche suggests drawing on philosophy for the creation of values and drawing on art in order to create beautiful surfaces that are based on these values. He regards science as a cultural system that rests on contingent grounds. Therefore, his work is concerned with the responsible construction of the narratives of science in such a way that they enhance agency and promote a life-affirming future. (shrink)

Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...) and present them in unity. Here, referring to Heraclitean, Kantian, Nietzschean and Heideggerian metaphysics and aesthetics, I propose that the principles of motion and transition be the new cosmologic-aesthetic categories for the judgment of sublime artworks as well as for the understanding of the world (Weltanschauung) they represent. (shrink)

ABSTRACTThis review essay of Shawn Loht’s new book, Phenomenology of Film: A Heideggerian Account of the Film Experience, not only offers an ontological reading of the filmic experience inspired by Heidegger’s philosophy but also contributes substantially to the ongoing debate of whether or not film is a medium that is legitimately philosophical. In addition to confronting unique ideas about film that emerge from Loht’s analysis of Heidegger’s phenomenological ontology of Dasein, including a reading of later Heidegger of the “Turn,” this (...) essay also seeks to think with and then beyond Loht in a way that might inspire readers to further pursue these issues in relation to a potentially reconceived understanding of the practice of film-as-philosophy. (shrink)

This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...) philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the paper is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. (shrink)

Kant makes a much-unexpected confession in a much-unexpected place. In the Criticism of the third paralogism of transcendental psychology of the first Critique Kant accepts the irrefutability of the Heraclitean notion of universal becoming or the transitory nature of all things, admitting the impossibility of positing a totally persistent and self-conscious subject. The major Heraclitean doctrine of panta rhei makes it impossible to conduct philosophical inquiry by assuming a self-conscious subject or “I,” which would potentially be in constant motion like (...) other thoughts. For it rules out the possibility of completely detached reasoning which necessitates an unchanging state of mind. In this paper, Kaplama uses panta rhei to critically examine the philosophical shortcomings and contradictions of Kantian and Enlightenment ethics. In his examination, he specifically focuses on the teleological nature of Kant’s principle of freedom and ideal of moral autonomy which have dominated the Enlightenment thought. By doing so, he argues that it is essentially inaccurate to posit Überlegenheit (the state of being superior to nature) as the foundation of philosophical inquiry mainly because this would contradict the Enlightenment’s claim to constitute a rupture from classic and medieval metaphysics and would render Enlightenment a mere extension of Christian metaphysics. As in Christianity, Überlegenheit presupposes two separate realms, the actual (contingent) and ideal (pure) realms of thought and assumes that the transcendence commences from the level of the late metaphysical/teleological construction of the ‘subject’ who is completely persistent, self-conscious and immune to change. He then substantiates these points with reference to the philosophical roots of ethnic prejudice displayed by the post-Enlightenment colonialists and the missionaries in Fiji and the Pacific. This brief critical examination of the post-Enlightenment ethnocentrism will be conducted under the following three points: a) On the Enlightenment’s teleological and universalistic understanding of humanity and the concept of progress versus the Fijian concepts of the continuity of life, regeneration, and reproduction b) On the Enlightenment’s ideal of the free-willing and independent individual subject versus the Fijian ideas of 'the cord', reciprocity, and vanua, and c) On the Enlightenment’s (and Christianity’s) strict dualism between physics and metaphysics, nature and human mind, body and soul versus the Fijian bio-centrism, the sanctity of vanua and the cosmological concept of mana. (shrink)

Recent discussions about moral enhancement presuppose and recommend sets of values that relate to both the Western tradition of moral philosophy and contemporary empirical results of natural and social sciences, including moral psychology. It is argued here that this is a typology of thought that requires a fundamental interrogation. Proponents of moral enhancement do not account for important critical analyses of moral discourse, beginning with that of Friedrich Nietzsche and continuing with more prominent twentieth century thinkers such as the poststructuralist (...) Michel Foucault, the deconstructionist Jacques Derrida, and the moral philosopher Alasdair MacIntyre. In this paper, such analyses are taken into account to highlight the need for more fundamental philosophical interrogation of the project of moral enhancement. (shrink)

Death is a bad thing by virtue of its ability to frustrate the subjectively valuable projects that shape our identities and render our lives meaningful. While the presumption that immortality would necessarily result in boredom worse than death proves unwarranted, if the constraint of mortality is a necessary element for virtues, relationships, and motivation to pursue our life-projects, then death might nevertheless be a necessary evil. Mortal or immortal, it’s clear that the value of one’s life depends on its subjectively (...) determined quality, rather than its quantity. Thus, it is imperative to live forever in the present, with flourishing always in mind. (shrink)

The ArgumentDuring the last two decades the debate on the use and abuse of narrative in historiography has taken a new form: ideological instead of methodological. According to poststructuralist critics, the representation of past events and processes in the form of a coherent story turns history into mythology, which is (or serves) conservative ideology. This is so because the fabrication of organic continuity and unity between the past and the present (as well as the future) of society depicts its most (...) fundamental laws and institutions as divine-natural rather than human creations and thereby renders them impervious to any rational or historical refutation. The main aim of this essay is to reclaim some credibility for narrative history against its critics, both ancient and modern, and on both methodological and ideological grounds, by reappraising the role of myth in the constitution of all norms and forms of life. Setting out from the observation that the narratives and other symbolic interpretations of historical reality in which the people believe are as real as the conditions and events in which they actually live, the author calls upon historians not to eliminate, but to illuminate, myths in history, by showing their extension or configuration of historical reality. (shrink)

Ofelia Schutte's relationship to Nietzsche is contentious. Sometimes she identifies him as an ally. Sometimes she calls him an enemy. Appealing to Nietzsche's abolition of the appearance reality distinction and to his discussions of women as skeptics, I turn to Ofelia's discussions of the Madres de la Plaza de Mayo to suggest that their protests can be understood as a Nietzschean politics of transvaluation where the myth of the mother and the materialities of women's bodies become the ground of the (...) demand for justice. (shrink)

It can hardly be denied that play is an important tool for the development and socialisation of children. In this article we argue that, through dramaturgical play in combination with pedagogical tools such as the Community of Inquiry (CoI), in the tradition of Philosophy for Children (P4C), students can creatively think, reflect and be more aware of the impact their gestures (Schmid 2000b) have on others. One of the most fundamental aspects of the embodied human life is human interaction that (...) is based on expressions, what Schmid calls gestures. Through self-reflection, one’s set of gestures can be developed into a deliberate ‘life-performance’; a conscious, selected and coherent work of art (Schmid, 2000b, p. 332). Drawing on Nietzsche’s idea of living artistically, we explore how Schmid’s philosophy of the art of living, P4C and the liberal arts, with a focus on drama education, can work together to develop (self-) reflective, reasonable citizens who are able to develop their own art of living while respecting and supporting the development of the good and beautiful life of others. (shrink)

If philosophers have discussed life as preparation for death, this seems to make aging coterminous with dying and a melancholy passage that we are condemned to survive. It is important to examine the discourse on aging and end of life and the ways various models either limit possibilities for human agency or suggest means of being innovative in relation to such parameters. I challenge developmental views of aging not by arguing for eternal life, but by using Plato’s conception of form (...) in conjunction with Simmel’s work and Arendt’s meditation on intergenerational solidarity, to evoke a picture of the subject as having capacities that offer avenues for improvisational action. This paper proposes a method for analyzing any social form as a problem-solving situation where the real “problem” is the fundamental ambiguity that inheres in the mix between the finite characteristics of the action and its infinite perplexity. I work through the most conventional chronological view of aging to show how it dramatizes a fundamental ethical collision in life that intensifies anxiety under many conditions, always raising the question of what is to be done with respect to contingency, revealing such “work” as a paradigm of the human condition. (shrink)

This article offers a sonic reading of Gilles Deleuze’s political philosophy. It argues that Deleuze adopts a sonic-musical vocabulary to account for the affective and corporeal dimensions of politics or the ways that bodies and nonconscious forces shape political and epistemological experience. Suggesting that sonic expressions operate on both the musical and the linguistic register and inflect bodies before being consciously recognized, the article thus explores how the sound flows involved in political assemblages also find entrance into philosophical concepts. To (...) make this argument, the article traces several sonic figures – most prominently refrain, rhythm, and resonance – throughout Deleuze’s _oeuvre_ and puts those into conversation with sound studies scholarship. With this, the article makes two wider contributions. First, it traces connections between Deleuze’s early philosophical works and his later more overtly political collaborations with Guattari by way of sound to establish a notion of the political as an aesthetic-ecological field composed with and beyond human activity. Second, the article outlines parameters of a sonic political philosophy centered on affective involvement, embodied listening, and experimental thinking, thus also articulating the relevance of sound studies scholarship for political theory and Deleuzian philosophy. (shrink)

The concept of “conceptual personae” is a contradiction in terms. On one sense of the term, personae are the characters in a work of art, such as a play or a novel. As characters, they are not common terms – King Lear is a particular; he is not a universal, for he cannot be shared in common. However, concepts are quite unlike King Lear. As universals, they are common terms that can be shared in common. “Conceptual personae” renders the particular (...) universal and thereby declares the universal not to be universal. However, I argue that as long as philosophers maintain a traditional attitude toward conceptual truth, philosophers will not be able to successfully think the structure of being without appealing to the mythical imagination, of which conceptual personae form an essential constituent. (shrink)

The debate regarding representation is haunted by the fact that it takes place within a context of general suspicion whereby everything, it is claimed, is always representation. Such is the hurdle that Foucault identifies and Derrida attempts to elucidate in his debate with Heidegger, in which he takes issue with Heidegger’s critique of the “age of representation.” Derrida’s deconstruction of Heidegger’s account of the history of representation leads to a reconstruction that privileges the motifs of dissemination, of envoi (sending or (...) dispatching). In art too, Derrida confronts Heidegger, this time with the aim of re-thinking the relationship between the work and what lies outside and beyond it. By framing the Derrida/Heidegger debate within a consideration of the Lascaux cave drawings, and by examining the positions of Girard, Bataille and Blanchot in relation to the question of the origins of art, it will be possible to re-draw the boundaries of representation insofar as they lie at the intersection between philosophy and art. (shrink)

Digital technology has revolutionized connectivity, but it has also overcome spatial obstacles that used to shield people from subjugating gazes and unlimited exercise of power. The home as an auratic space is dead, and this alienation has hindered our democratic capacities and created complex crises. The Death of Home aims to intellectually engage readers via enhancing spatial literacy to critically confront today’s crises.

Šiame straipsnyje siekiama atsakyti į klausimą, kas galėtų susieti filosofiją ir vizualiuosius bei žodinius menus. Ar įmanoma ir jei taip, tai kaip įmanoma reflektuoti visus menus kaip vieno kūrybinio įvykio momentus? Siekiant atsakyti į šį klausimą, pirma, aptariamas logikos ir kūrybiškumo susikertant menui ir filosofijai susidūrimas, antra – žodžio ir vaizdo nebendramatiškumas, surastas / išrastas belgų siurrealisto René Magritte’o ir reflektuotas Michelio Foucault. Čia sugrįžtama prie klasikinio F. Niezsche’s disputo su Sokratu apie logikos ir kūrybiškumo priešpriešą ir siekiama atsakyti į (...) klausimą, kurią pusę – Sokrato ar F. Nietzsche’s – paremia šioje diskusijoje Gilles’is Deleuze’as ir Félixas Guattari. Atrodytų, kad jie suderina logiką ir kūrybiškumą, pastebėdami, kad menas nėra nei mokslinio mąstymo, nei filosofijos koreliatas ar papildas, kad trys minties formos – menas, mokslas ir filosofija – turi po nepriklausomą specifinę kryptį, Kita vertus, interpretuodamas I. Kantą, G. Deleuze’as pastebi disharmoniją tarp vaizduotės, supratimo ir proto, ir, sekdamas Antonino Artaud’o įžvalgomis, jis išskiria naują minties tipą kaip tarpinę teritoriją tarp žodžio ir vaizdo. (shrink)

This paper gives a short description of basic features of the dominating mindset in the Western world between the 1970s and today, often called “post-modern”, through a re-reading of John Ashbery’s poem “Self-Portrait in a Convex Mirror” . In doing so, it applies the viewpoint of an interdisciplinary history of ideas. Since collective mindsets have become the most important contextual political factors, the implications are multiple.