Commenting on Jean-Paul Sartre's theory of imagination, Paul Ricoeur argues that Sartre fails to address the productive nature of imaginative acts. According to Ricoeur, Sartre's examples show that he thinks of imagination in mimetic terms, neglecting its innovative and creative dimensions. Imagination, Ricoeur continues, manifests itself most clearly in fiction, wherein new meaning is created. By using fiction as the paradigm of imaginative activity, Ricoeur is able to argue against Sartre that the essence of imagination lies not in its ability (...) to reproduce absent objects, but rather in the ability to transform reality through creative acts. Motivated by the intuition that Sartre the writer could not have forgotten to address such crucial dimensions of imagination, I examine Sartre's philosophical and literary work, showing that not only does he develop a notion of productive imagination, he also puts this notion to work by articulating the relationship between imagination, narrative, and identity formation, well before Ricoeur advanced his narrative-identity theory. I argue that Sartre, like Ricoeur and MacIntyre, another representative of narrative-theory whose criticism of Sartre I address in this essay, views imagination and narrativity as necessary conditions for the formation of a coherent and meaningful sense of self. (shrink)

Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a Bat?, Nagel (...) offered reflections on human subjectivity and its constraints. Nagel’s insights were elaborated before the social diffusion of computers and could not anticipate the cultural impact of technological artefacts capable of materializing interactive simulated worlds as well as disclosing virtual alternatives to the “self.” In this sense, this article proposes an understanding of computers as epistemological and ontological instruments. The embracing of a phenomenological standpoint entails that philosophical issues are engaged and understood from a fundamentally practical perspective. In terms of philosophical praxis, or “applied philosophy,” I explored the relationship between human phenomenologies and digital mediation through the design and the development of experimental video games. For instance, I have conceptualized the first-person action-adventure video game Haerfest (Technically Finished 2009) as a digital re-formulation of the questions posed in Nagel’s famous essay. Experiencing a bat’s perceptual equipment in Haerfest practically corroborates Nagel’s conclusions: there is no way for humans to map, reproduce, or even experience the consciousness of an actual bat. Although unverifiable in its correspondence to that of bats, Haerfest still grants access to experiences and perceptions that, albeit still inescapably within the boundaries of human kinds of phenomenologies, were inaccessible to humans prior to the advent of computers. Phenomenological alterations and virtual experiences disclosed by interactive digital media cannot take place without a shift in human kinds of ontologies, a shift which this study recognizes as the fundamental ground for the development of a new humanism (I deem it necessary to specify that I am not utilizing the term “humanism” in its common connotation, that is to say the one that emerged from the encounter between the Roman civilization and the late Hellenistic culture. According to this conventional acceptation, humanism indicates the realization of the human essence through “scholarship and training in good conduct” (Heidegger 1998, p. 244). However, Heidegger observed that this understanding of humanism does not truly cater to the original essence of human beings, but rather “is determined with regard to an already established interpretation of nature, history, world, and […] beings as a whole.” (Heidegger 1998, p. 245) The German thinker found this way of embracing humanism reductive: a by-product of Western metaphysics. As Heidegger himself specified in his 1949 essay Letter on Humanism, his opposition to the traditional acceptation of the term humanism does not advocate for the “inhuman” or a return to the “barbaric” but stems instead from the belief that the humanism can only be properly understood and restored in culture as more original way of meditating and caring for humanity and understanding its relationship with Being.). Additionally, this study explicitly proposes and exemplifies the use of interactive digital technology as a medium for testing, developing and disseminating philosophical notions, problems and hypotheses in ways which are alternative to the traditional textual one. Presented as virtual experiences, philosophical concepts can be accessed without the filter of subjective imagination. In a persistent, interactive, simulated environment, I claim that the crafting and the mediation of thought takes a novel, projective (In Martin Heidegger’s 1927 Being and Time, the term “projectivity” indicates the way a Being opens to the world in terms of its possibilities of being (Heidegger 1962, pp. 184–185, BT 145). Inspired by Heidegger’s and Vilem Flusser’s work in the field of philosophy of technology as well as Helmuth Plessner’s anthropological position presented in his 1928 book Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie, this study understands the concept of projectivity as the innate openness of human beings to construct themselves and their world by means of technical artefacts. In this sense, this study proposes a fundamental understanding of technology as the materialization of mankind’s tendency to overcome its physical, perceptual and communicative limitations.) dimension which I propose to call “augmented ontology.”. (shrink)

. Migrating narratives: pedagogical possibilities for relating difference. Ethics and Education: Vol. 7, Creating spaces, pp. 225-236. doi: 10.1080/17449642.2013.766539.

Philosophers have often adopted a dismissive attitude toward metaphor. Hobbes (1651, ch. 8) advocated excluding metaphors from rational discourse because they “openly profess deceit,” while Locke (1690, Bk. 3, ch. 10) claimed that figurative uses of language serve only “to insinuate wrong ideas, move the passions, and thereby mislead the judgment; and so indeed are perfect cheats.” Later, logical positivists like Ayer and Carnap assumed that because metaphors like..

This article suggests an iconic turn in cultural sociology. Icons can be seen, it is argued, as symbolic condensations that root social meanings in material form, allowing the abstractions of cognition and morality to be subsumed, to be made invisible, by aesthetic shape. Meaning is made iconically visible, in other words, by the beautiful, sublime, ugly, or simply by the mundane materiality of everyday life. But it is via the senses that iconic power is made. This new approach to meaning (...) is compared with others — with materialism, semiotics, aestheticism, moralism, realism, and spiritualism. (shrink)

Roger Scruton's 530-page blockbuster The Aesthetics of Music was published by Oxford University Press in 1997. A paperback edition followed two years later. Neither received more than a handful of notices, a few appreciative, but some grudging and some actually hostile. As its quality has come to be recognized, and as the resentments it provoked have either died down or found newer targets, the book has gradually achieved a certain canonical, even classic, status. Students of the subject now seem to (...) feel that, however unpalatable some of its conclusions may have been, it can no longer safely be ignored. The questions, it appears, are the right ones, even if we don't care for Scruton's answers. (shrink)

In the work of Levinas, thought of the Other establishes an infinite responsibility and in that of Derrida's latest work an infinite duty of hospitality. Such thought nonetheless leaves a problem of judgement and decision. This paper uses the work of the French philosopher René Girard, and in particular his account of scapegoating, to critically discern between malign and benign otherness. It argues that a logic of undecidability needs an ethical hermeneutics capable of discerning between good and evil.

The ArgumentThis paper contains two main sections. In the first I suggest a mechanism of interpretation, based on a distinction between two aspects of meaning, analyzed using two kinds of rhetorical-poetical constructions:tropesto explore the linguistic relations—metaphors, metonyms, synecdoches, etc.—that endow terms with content, andtopicsto account for the structuring function of key expressions, which enables the recognition and adjudication of phrases, arguments, texts, genres, etc. In the second section I substantiate my claims by demonstrating how new light is shed on Galileo (...) Galilei's neglected and obscureDe Motuif these two aspects of the meaning of its central theoretical terms are taken into consideration; interpreted through this approach it is revealed as a text revolutionary in its ideas, while the communicative efficacy of its continuous use of the traditional terminology is unveiled. (shrink)

The paper examines some philosophical aspects of translation as a metaphor for education—a metaphor that avoids the closure of final definitions, in favour of an ongoing and tentative process of interpretation and revision. Translation, it is argued, is a complex process involving language, within and among cultures, and in the exercise of power. Drawing on Foucault's analysis of power, Nietzschean contingency, and the inversion of meaning that characterises the work of Heidegger and Derrida, the paper points towards Ricoeur's notion of (...) linguistic hospitality as the ethical dimension to the inevitably inadequate representation of the ‘other’. In this exploration, translation is posited as a creative and interpretive act—involving neither image nor copy, but poetic transposition.The power of language emerges in the close association between power and knowledge, in which the ability to define what is real generates the realm of future possibilities. From a Foucauldian perspective, language functions as a creative strategic relation—a form of power that structures the field of other possible actions. It is through the mediation of translation, the paper argues, that language communicates, leaving us with a world of difference (i.e. ‘lost in translation’), as both our curse and our blessing as part of the human condition and as part of our ethical endeavour as educators. The contingent and arbitrary nature of language problematises what appears natural and necessary, generating the possibility of creative dialogue. (shrink)

I argue that Darwinian evolutionary theory has a rhetorical dimension and that rhetorical criticism plays a role in how evolutionary science acquires knowledge. I define what I mean by rhetoric by considering Darwin’s Origin. I use the Modern Evolutionary Synthesis to show how rhetoric conceived as situated and addressed argumentation enters into evolutionary theorizing. Finally, I argue that rhetorical criticism helps judge the success, limits, and failures of these theories.

This essay argues that Aristotle's categories of oratory are not as useful in judging the methods of Sophistical rhetoric as his presentation of time. The Sophistical argumentative method of “making the weaker the stronger case” is re-evaluated as a political practice. After showing this argument's relation to power and ideology, Aristotle's philosophy, which privileges a procedure of argument consistent with the politics of a polis-ideal rhetoric, is offered as reason for objecting to Sophistical rhetoric. The essay concludes that Sophistical rhetoric (...) prefers the concept of possibility over Aristotelian actuality, and offers a need for an ideological space of radical, generative possibility in rhetorical theory. (shrink)

There is a recent scholarly trend drawing similarities between Aristotle’s conceptions of ethics and demonstrative science. One such similarity has become widely and rightly recognized: for Aristotle both ethics and demonstrative science seek essential definitions of phenomena. The task of the paper is to show that German philosopher and classicist Hans-Georg Gadamer not only prefigured this interpretative trend, he also identified a problematic feature of Aristotle’s method so construed. The problematic feature is semantic. For Aristotle essential definitions must consist of (...) univocal terms, but such univocity cannot be maintained if the definienda and definientes are concepts to be usefully employed in everyday ethical judgements. Gadamer therefore points out a problematic tension in Aristotle’s ethics. On the one hand, ethical inquiry should have practical application, but, on the other hand, the semantic assumptions underlying inquiry imply that it cannot. (shrink)

I argue that imagination has an inherently paradoxical structure: it enables one to flee one’s socio-cultural reality and to constitute one’s socio-cultural world. I maintain that most philosophical accounts of the imagination leave this paradox unexplored. I further contend that Paul Ricoeur is the only thinker to have addressed this paradox explicitly. According to Ricoeur, to resolve this paradox, one needs to recognize language as the origin of productive imagination. This paper explores Ricoeur’s solution by offering a detailed study of (...) reproductive and productive imagination in the framework of poetic imagination. My analysis subjects Ricoeur’s distinction between reproductive and productive imagination to a critique that relies upon the principles of classical phenomenology. According to my central thesis, the imaginative powers of language are themselves rooted in perception. This thesis broadens the scope and significance of Ricoeur’s solution by enabling one to resolve the paradox of imagination not only at the level of language-based imagination, but also at the level of dreams and daydreaming as well as at the level of non-language based art. No less significantly, this thesis enables one to open a fresh dialogue between phenomenology and hermeneutics. (shrink)

Being diagnosed with cancer can be one of those critical incidents that negatively affect the self. Identity is threatened when physical, psychological, and social consequences of chronic illness begin to erode one’s sense of self and challenge an individual’s ability to continue to present the self he or she prefers to present to others. Based on the notion of illness trajectory and adopting a Ricoeurian narrative perspective, this theoretical paper shall explore the impact of cancer disease on identity and establish (...) the crucial importance of metaphor in the narratives of life with cancer. Findings indicate that in cancer narratives the illness experience supplies the narrative structure with temporal and spatial meeting points that make the narrative comprehensible and meaningful. Cancer forces identity changes not only from having to endure the long-term physical and psychosocial effects of the disease, but also from inevitable existential questions about life’s meaning. Improved medical knowledge today means improved ethnomedical practices. Metaphor can bridge the gap between the cancer experience and the world of technology and treatment, helping patients to symbolically control their illness. (shrink)

The aim of this study is to describe how hermeneutic photography and one application of hermeneutic photography in particular, namely the photo-instrument, can be used as a health care intervention that fosters meaning (re-)construction of mental illness experiences. Studies into the ways how patients construct meaning in illness narratives indicate that aesthetic expressions of experiences may play an important role in meaning making and sharing. The study is part of a larger research project devoted to understanding the photostories that result (...) from groups of psychiatric patients using the photo-instrument. Within a focused ethnography approach we employed a qualitative design of a single case study. Text analysis of photostories was combined with observational data. Data were analyzed using hermeneutic theory. Participant observations were used for triangulation and complementarity. The interaction and collaboration between health care professionals and patients in the context of a photo group emerged as core concept that underlies the photo-instrument. The interaction triggered a reframing of meaning in the patient’s illness narrative that offered new perspectives on positive identity growth. The role of visualizing meaning in images was found to lend a dynamic power to the process and triggered a dialectic between real life circumstances and imagination played out in the context of situated action. The findings suggest that a positive reframing of meaning in illness narratives is facilitated by the photo-instrument. (shrink)

This article aims to contribute to ongoing debate on the place of metaphor at the semantics/pragmatics interface. Contextualists have argued that metaphorical utterances (i.e., prosaic/conventional metaphors) behave like literally loose uses of speech in that they are interpreted automatically and unreflectively. If metaphors are interpreted along the same lines as literally loose speech, metaphorical content is part of what a speaker says, and is classified as semantic. Some other authors have observed that metaphorical utterances (i.e., poetic, novel metaphors) seem to (...) behave more like paradigmatic conversational implicatures, and so are conversationally meant. On this picture, metaphors are patently pragmatic. I attempt to square these seemingly disparate observations by developing an idea in Korta and Perry’s _Critical Pragmatics_ (2011). Namely, that _every_ utterance is _systematically_ associated with a family of contents. The truth-conditions of these contents are classified by different contents; some of these contents are reflexive and have the utterance itself as a constituent. They range from the purely reflexive to referential content thereby constituting a family of gradually less reflexive and more contextually independent contents. Differences between prosaic and poetic metaphors roughly correspond to the level of content triggering an inference to metaphorical meaning. (shrink)

Whether poetry gives knowledge or not is a question that has been debated from a variety of perspectives, depending on how a society or a culture defines knowledge, and on the function it ascribes to poetry in relation to that definition. The civilizations of Asia and the Middle East have generally taken the line that poetry deals primarily with affects, emotions and feelings. The West has had a more complicated history of responses. One way of making sense of this history (...) is to map rival claims as split over the idea of scientific knowledge, where it affects notions of the poetic function. The mapping, through all its manifold branches, gives clear indications that claims to knowledge – both those made on behalf of poetry, and those denied to poetry – depend more on assumptions, predispositions and cultural conditioning than on rational argument or critical debate. The resulting variety also suggests that the cultural relativism that affects such debates is unlikely to arrive at resolutions except of the contingent kind. (shrink)

(1988). Approaches, opportunities and priorities in the rhetoric of political inquiry: A critical synthesis. Social Epistemology: Vol. 2, No. 1, pp. 21-42.

The essential significance of scientific metaphor lies in applying the general metaphorical theory to specific interpretations and elaborations of scientific theories to form a methodology of scientific explanation. It is a contextual grasp of objective reality. A given metaphorical context and its grasp of the essence of reality can only be valid when the context is continually restructured. Taking the context as a whole, the methodological characteristic of scientific metaphor lies in the unity of understanding and choice, experience and concepts, (...) semantic structures and metaphorical domains, rationality and irrationality. As a form of thinking based on reasons, scientific metaphor plays an important role in invention, representation, explanation, evaluation, and communication. (shrink)

A Gricean preamble concludes that though utterances have unintended meanings, those cannot be considered apart from their intended meanings. Intention distinguishes artworks from natural phenomena. To allocate an artwork to a genre, to accept its normal authorial boundaries and that its content is not random but chosen, is to concede intention's centrality. Wimsatt and Beardsley were right that meaning is public. But they think 'intention' is 'private' or 'unavailable'. However, it too is public, in the work. Fictions are utterances of (...) a curious kind. They may mimic, but are not meant to be taken for, veridical reports. Neither are they 'pseudo-statements' nor 'pretended illocutionary acts'. Their logical form is actually this: 'I [author] invite you [reader] to imagine that S [content].' This prescribes no response, nor claims to describe the 'real' world, even though it may elicit a response appropriate to real-life events. One reason for imagining fictional situations may be to strengthen the perceptions necessary for real life. (shrink)