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  1. Sneering Satire.Luvell Anderson - 2022 - Aristotelian Society Supplementary Volume 96 (1):269-288.
    In ‘“Sneering, or Other Social Pelting”’, Lucy O’Brien understands sneering acts as ways of making feel that are aimed at socially downgrading a target. Sneers are essentially expressions of contempt. Although typically thought of as vicious, O’Brien argues they can also be used virtuously to disrupt social hierarchies, especially when taken up by people with low social status. I examine satire as a potentially effective means of carrying out this virtuous activity. I examine O’Brien’s account while exploring the conditions that (...)
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  • Curriculum, Critical Common-Sensism, Scholasticism, and the Growth of Democratic Character.Jim Garrison - 2005 - Studies in Philosophy and Education 24 (3):179-211.
    My paper concentrates on Peirce’s late essay, “Issues of Pragmaticism,” which identifies “critical common-sensism” and Scotistic realism as the two primary products of pragmaticism. I argue that the doctrines of Peirce’s critical common-sensism provide a host of commendable curricular objectives for democratic Bildung. The second half of my paper explores Peirce’s Scotistic realism. I argue that Peirce eventually returned to Aristotelian intuitions that led him to a more robust realism. I focus on the development of signs from the vague and (...)
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  • Toward an objective phenomenological vocabulary: how seeing a scarlet red is like hearing a trumpet’s blare.Richard Kenneth Atkins - 2013 - Phenomenology and the Cognitive Sciences 12 (4):837-858.
    Nagel’s challenge is to devise an objective phenomenological vocabulary that can describe the objective structural similarities between aural and visual perception. My contention is that Charles Sanders Peirce’s little studied and less understood phenomenological vocabulary makes a significant contribution to meeting this challenge. I employ Peirce’s phenomenology to identify the structural isomorphism between seeing a scarlet red and hearing a trumpet’s blare. I begin by distinguishing between the vividness of an experience and the intensity of a quality. I proceed to (...)
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