Este trabajo estudia el concepto de “lo sublime” en la cultura barroca, con el objetivo de demostrar que, aunque no fue teorizado sistemáticamente hasta el siglo XVIII, este cobró durante el siglo XVII una centralidad y, sobre todo, un significado filosófico semejantes a los que se impondrían posteriormente y que, según veremos, está estrechamente ligado con el concepto de “nihilismo”.

Catholic theology’s traditional understanding of the spiritual nature of the human person begins with the idea of a rational soul and human mind that is made manifest in free will—the spiritual experience of the act of consciousness and cause of all human arts. The rationale for this religion-based idea of personhood is key to understanding ethical dilemmas posed by modern research that applies a more empirical methodology in its interpretations about the cause of human consciousness. Applications of these beliefs about (...) the body/soul composite to the theory of evolution and to discoveries in neuroscience, paleoanthropology, as well as to recent animal intelligence studies, can be interpreted from this religious and philosophical perspective, which argues for the human soul as the unifying cause of the person’s unique abilities. Free will and consciousness are at the nexus of the mutual influence of body and soul upon one another in the traditional Catholic view, that argues for a spiritual dimension to personality that is on a par with the physical metabolic processes at play. Therapies that affect consciousness are ethically problematic, because of their implications for free will and human dignity. Studies of resilience, as an example, argue for the greater, albeit limited, role of the soul’s conscious choices in healing as opposed to metabolic or physical changes to the brain alone. (shrink)

When Auerbach writes in Mimesis: The Representation of Reality in Western Literature that, although Homer can be analyzed, he cannot be interpreted, he puts the reader on notice that not all verbal discourse embodies the structure of interpretation. He equally shows the reader that there is discourse which, in order to be read, must be interpreted—that of the Bible and its heirs. Although Mimesis has long been celebrated, its readers have not properly remarked that what allows Auerbach to achieve his (...) penetrating reading of Western literature is precisely the critical distinction which he makes between analysis and interpretation, between that which is devoid of or lacks (is ignorant of) interpretation and that which consciously involves (wills) interpretation. Given the failure to appreciate the distinction which Auerbach systematically draws between analysis and interpretation, it is hardly surprising that philosophers and literary critics have failed to see that the distinction between analysis and interpretation presupposes a general theory of interpretation which applies no less to philosophy than to literature. (shrink)

The literature on conscience in medicine has paid little attention to what is meant by the word ‘conscience.’ This article distinguishes between retrospective and prospective conscience, distinguishes synderesis from conscience, and argues against intuitionist views of conscience. Conscience is defined as having two interrelated parts: (1) a commitment to morality itself; to acting and choosing morally according to the best of one’s ability, and (2) the activity of judging that an act one has done or about which one is deliberating (...) would violate that commitment. Tolerance is defined as mutual respect for conscience. A set of boundary conditions for justifiable respect for conscientious objection in medicine is proposed. (shrink)

In this paper, I seek to challenge some contemporary accounts of collective affective intentionality by arguing for irreducibility of ontological autonomy of individual affective experiences. By elaborating on several requirements for reciprocal affective responses, I propose that instead of endorsing tendency of experiential unification, phenomenal fusion and token identity accounts and conceiving of single body of collectivity in terms of extended self, as the ontological bearer of affective intentionality, one has to maintain at least minimal asymmetry of self and other. (...) Moreover, I discuss the role of embodied interaffectivity and mutual incorporation accounts for collective affective experiences. (shrink)

The concept of modes of existence of semiotic entities underlies (post)Greimasian semiotics, yet it seems to have received little attention. Modes of existence can be used in different senses. For Greimas, from the perspective of narrative semiotics, when Michelangelo first receives a block of marble and decides to sculpt the David, his intention is in a virtual mode; as Michelangelo progresses he ends up bringing the David into existence, and his intention comes to the realized mode. In Fontanille’s tensive semiotics, (...) however, modes of existence can have to do with how one can narrow or broaden the scope of our apprehension of the David as our eyes look at it in order to produce a meaningful experience. In this work, the perspectives of narrative and tensive semiotics are contrasted both theoretically and practically applying both to a number of examples. In order to identify all possible modes of existence and all the possibilities of transitioning from one to the other in the examples presented, we resort to the method of finite-state automata from computer science. In the end, we propose a robust narrative account of modes of existence that relies on narrative semiotics for its definition, but into which intent and apprehension from tensive semiotics can be integrated. This work calls for the need of establishing a syntax of modes of existence, since both Greimas and Fontanille construe them as being necessary to account for the production of signification. (shrink)

The Shape of Agency offers interlinked explanations of the basic building blocks of agency, as well as its exemplary instances. The first part offers accounts of a collection of related phenomena that have long troubled philosophers of action: control over behaviour, non-deviant causation, and intentional action. These accounts build on earlier work in the causalist tradition, and undermine the claims made by many that causalism cannot offer a satisfying account of non-deviant causation, and therefore fails as an account of intentional (...) action. The second part turns to modes of agentive excellence—ways that agents display quality of form—providing a novel account of skill, including an account of the ways that agents display more or less skill. Shepherd discusses the role of knowledge in skill, and concludes that while knowledge is often important, it is inessential. This leads to a discussion of the way that knowledge of action and knowledge of how to act informs action execution. Knowledgeable action includes a unique epistemic underpinning: in knowledgeable action, the agent has authoritative knowledge of what she is doing and how she is doing it when and because she is poised to control her action by way of practical reasoning. (shrink)

According to the traditional analysis of propositional knowledge (which derives from Plato's account in the Meno and Theaetetus), knowledge is justified true belief. This chapter develops the traditional analysis, introduces the famous Gettier and lottery problems, and provides an overview of prospective solutions. In closing, I briefly comment on the value of conceptual analysis, note how it has shaped the field, and assess the state of post-Gettier epistemology.

: Socrates in the Apology takes an adventurous approach to belief. Although he lacks knowledge, he holds strong beliefs about virtue and the human good. These beliefs count as wisdom only if they are supported by the ability to explain why they are true, and Socrates lacks this ability. To understand why Socrates holds these beliefs, Gorgias 481c–482c is examined. He claims there always to say the same thing and to agree with himself. His beliefs allow him to maintain a (...) stable core of harmonious beliefs. This provides some evidence of the truth of his beliefs and forms one aspect of his human wisdom. (shrink)

This chapter presents the core challenge before Hamlet as that of achieving authenticity in the face of inner multiplicity. Authenticity—which this chapter will take to mean (1) acting on the (2) knowledge of (3) what one truly is, beneath one’s various masks and social roles—becomes a particularly pressing need under conditions of (early) modernity, when traditional forms of action-guidance are at least halfway off the table. But authenticity is highly problematic when the self that is discovered turns out to be (...) multiple. Which self, exactly, should one be true to? Hamlet’s solution, this chapter suggests, is an “actor’s ethos,” in which each of his aspects is given its day in the sun, granted full commitment by means of what we now call “method acting.” That is what Hamlet learns from the players—and that too is what we stand to learn from _Hamlet_: not an idea but a method. (shrink)

Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...) truth or epistemic merit of these claims. (shrink)

Authority figures permeate our daily lives, particularly, our political lives. What makes authority legitimate? The current debates about the legitimacy of authority are characterised by two opposing strategies. The first establish the legitimacy of authority on the basis of the content of the authority’s command. That is, if the content of the commands meet some independent normative standard then they are legitimate. However, there have been many recent criticisms of this strategy which focus on a particular shortcoming – namely, its (...) seeming inability to account for who can legitimately command whom. This is the basis of the second strategy, which attempts to characterize the normative relationship that underlies and makes possible authoritative commands. The central point of Part I is that these two strategies are, in fact, not opposed and both raise questions which a theory of legitimacy must answer. If this is the case, then we need to ask: how ought we to determine the legitimacy both of the content of commands as well as who can command whom? Part II will answer this question. Starting with the question of standing, I argue that we ought not to look for normative principles outside of the institutions in which authority is embedded. Rather, one ought to start by elaborating the ontology of institutions in which a sui generis form of normativity arises. A joint commitment account of social ontology provides the tools necessary to see how the direction obligations emerge concurrently with the formation of institutions. Similarly, the question of content can be answered by paying close attention to the social ontology of institutions. We need not look beyond the internal constitutive standards of the institution itself. The constitutive standards provide an internal criterion by which the legitimacy of commands can be established. (shrink)

This article brings out certain philosophical difficulties in Lacan’s account of the mirror stage, the initial moment of the subject’s development. For Lacan, the “original organization of the forms of the ego” is “precipitated” in an infant’s self-recognition in a mirror image; this event is explicitly prior to any social interactions. A Hegelian objection to the Lacanian account argues that social interaction and recognition of others by infants are necessary prerequisites for infants’ capacity to recognize themselves in a mirror image. (...) Thus mutual recognition with another, rather than self-recognition in a mirror, is what makes possible subsequent ego-formation and self-consciousness. This intersubjective critique suggests that many of the psychoanalytic consequences that Lacan derives from the mirror stage (e.g., alienation, narcissism, and aggressivity) may need to be rethought. (shrink)

This book contains a representationalist theory of self-consciousness and of the phenomenal first-person perspective. It draws on empirical data from the cognitive and neurosciences.

This article argues that Walter Benjamin’s aesthetico-political philosophy cannot be understood without reconsidering Hamlet. It elucidates Benjamin’s Hamlet via his theory of Baroque “mourning” and its counter-measure, the “Saturnine Dialectic.” It likewise offers an analysis of the 1877 Herman Ulrici edition of Hamlet, the German edition Benjamin cites exclusively. This analysis reconciles the differences in the secondary literature regarding Benjamin’s Hamlet, expounding upon the edition’s singular use of the word “foreordination”. Finally, by rereading Benjamin’s Hamlet through Carl Schmitt’s Hamlet or (...) Hecuba, it argues that Fortinbras’s succession, effectuated by Hamlet’s dying voice, conditions the repetition of sovereignty in Hamlet, betraying the emergence of the new. Despite this betrayal, the revolutionary potential that is sunken into the content of Hamlet is disjunctively brought to the surface by examining the “dialectical image” of Laertes’s rebellion, rescuing what I term the revolutionary-new from the jaws of defeat. (shrink)

This paper wants to address the Aristotelian analysis of the concept of mimesis from a social and cultural angle. It is going to show that mimesis is crucial if we want to understand why the institution of the theatre played such a crucial role in the civic educational programme of classical Athens. The paper’s argument is that the magic spell of theatrical imitation, its aesthetic machinery was exploited by the city for civic educational function. Dramas, and in particular tragedies helped (...) to articulate the city’s political expectations from the citizens, and they achieved it with far better efficiency than any other medium of propaganda which was available in those days. It will first reconstruct the duality within the internal structure of the Aristotelian account of mimesis in Poetics: it will show both 1.) the aesthetic and 2.) the socio-cultural dimensions of his theory of civic initiation through dramatic imitation. In the second part it will compare this Greek cultural context with a similar context in Rome in the activity and writings of Cicero. Finally, the paper presents the Renaissance republican context of early modern Europe, which also connected politico-moral education with the idea of mimesis. (shrink)

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)

Se plantea la pregunta de si efectivamente el delirio es idéntico a la irracionalidad,como se ha postulado desde la Ilustración. Se hace una breve síntesis de la forma como ha sido concebida la locura desde la Antigüedad Clásica hasta nuestros días. De esta revisión es importante destacar cómo el carácter absoluto del "ego cogito" de Descartes hace impensable la locura como posibilidad humana y abre el camino a su conceptualización como enemiga de la razón, vale decir, como irracionalidad. Como argumento (...) en favor a la tesis contraria al racionalismo, se menciona el sentido biográfico de la locura, ejemplificado en figuras literarias, como Edipo, Ofelia y Don Quijote. Lo común a todas estas vidas que terminan en la locura es un afán desmedido por permanecer en lo ilusorio, en el autoocultamiento, de tal modo que cuando una circunstancia los obliga a ver su propia verdad transforman "una realidad imposible en una posible irrealidad", vale decir, enloquecen. Ahora bien, tanto en las figuras literarias como en los esquizofrénicos de la práctica diaria, encontramos que el desborde se produce no hacia lo irracional y dionisíaco, sino exactamente en la dirección opuesta: hacia lo apolíneo y racional. La tesis de que en la base de la locura habría un exceso y no una falta de racionalidad, tratamos de demostrarla a través del análisis de dos casos paradigmáticos, en los que aparece tematizada la entrega al dominio absoluto de la razón como capacidad analítica y sintética y a la razón como luz que saca a los objetos cognoscibles desde las sombras. El delirio sería, entonces, el producto de un imperio sin contrapeso de la razón,entendida ésta ya sea como "ratio" o como "logos". (shrink)

Doing research on cancer patients often involves painful journeys through the processes of involvement and detachment with research settings and participants. It is a self-transforming event to see close cared for people die. Yet frequently these experiences remain unreported in academic writing. The present article attempts to depict the narratives of attachment in the context of terminal illness and detachment as a consequence of death of the research participant, Jabbar, to reflect on such a journey. It focuses on the formation (...) of a relationship beyond the boundaries of the purposes of research to reflect on two related issues, first, the nature of attachments and relationship building that goes in parallel to the formal dimensions of the research, and second, emotions, self-transformation and contextual embeddedness of doing research with terminally ill cancer patients. (shrink)

ABSTRACT This study bears upon the ‘Heidegger case,’ that is, the relation of Heidegger’s philosophizing to his political involvements as Rector of the University of Freiburg 1933-4, and his subsequent silences on the subject of the Holocaust. I use the phrase ‘bears upon’ for Heidegger’s political involvement will serve as the ‘horizon’ for the study, my concern being the genesis of Heidegger’s position. Grounded in a musical ‘intuition’ and attunement, I take up the Nietzschean cipher for understanding proposed by Heidegger (...) himself for the self-understanding of the German people: the Apollonian-Dionysian duality, which I apply to the ‘being’ of Heidegger’s own philosophizing. Through this approach I hope to make an original contribution to Heidegger scholarship by showing that Heidegger’s fundamental ontology is overdetermined, evolving out of both the phenomenological demand for a rigorous method in establishing fundamental structures of existence and - at the same time – out of an Apollonian attempt to ‘tame’ Dionysian existence, including Heidegger’s own. Inextricably interlinked will be the argument that Heidegger’s Auseinandersetzung, his ‘confrontation,’ with Nietzsche precedes the overt engagement of his ‘Nietzsche’ lectures of the 1930s, and, further, that this more pervasive concern with Nietzsche figures in the Apollonian-Dionysian strife within Heidegger’s thinking and within his ‘being.’ Heidegger’s silences in the face of the Dionysian - as well as the Auseinandersetzung with Nietzsche - will be seen to precede his ‘silence’ in the face of the actuality and history of the Third Reich. What I am proposing one might characterize as Heidegger’s Auseinandersetzung - through Nietzsche - with v Heidegger, in a disclosure of the ontic roots of Heidegger’s ontology, an exercise in his own hermeneutics of facticity. I will pursue the trace of the Apollonian-Dionysian duality: in the Western philosophical tradition which Heidegger confronts, using Husserl and Nietzsche as exemplars; in Heidegger interpretation; in the relation between his texts and his letters; and in the suppressions and intensifications within Being and Time. And I will propose that the fugue and the mutually generative duality of suppression and intensification within Heidegger’s academic thinking were conditions of the possibility of Heidegger’s ‘way’ towards political involvement. (shrink)

The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the (...) special is. The technique of comparing indiscernible counterparts, from Danto's book The Transfiguration of the Commonplace, is examined. It is argued that the technique is philosophically redundant, but it is a redundant premise which has been added to a valid inference (Danto's historical and contextual view of art: his artworld theory) therefore, this does not make the original inference invalid. Danto's treatment of metaphor, expression, and style is shown to result in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share features of metaphor: they are intensional (with an s) in structure and cannot be paraphrased. Third, a work of art expresses what it is a metaphor for by the way it depicts its subject. Fourth, artworks embody style. The conclusion, has two parts. The first part gives a summary of the criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept of the is of artistic identification and in his use of indiscernible counterparts, (2) his theory suffers by being over-inclusive and (3) he uses circular arguments. The second part is based on a response to the criticism: it provides a definition of art. This has three elements. First, an argument is proposed for a spectrum of artistic presence in which all human activity and artefacts can be placed. Second, there is an acceptance of Danto's view of art (or artistic presence) being both intentional (with a t) and intensional (with an s); however, by applying these concepts to a spectrum, the problem of over-inclusiveness is avoided. Finally, it is argued there can he no wholly non-circular account of art. (shrink)

O texto busca apresentar a recepção da céle-bre peça de Shakespeare em solo alemão, as-sim como as consequências que essa leitura teve em diferentes momentos do que se con-vencionou chamar de Goethezeit.

This article explores the friendship of Maurice Blanchot and Georges Bataille through a close reading of their thought on death and dying. An intellectual and personal friendship, both conceived of death as an “impossible” space and “limit-experience” that not only constituted human subjectivity, but could also puncture it, leading to joy through deindividuation. This could only occur indirectly – for Bataille, via the sacrifice, eroticism, drunkenness or laughter – and for Blanchot, via literature. This line of thinking leads to varying (...) formulations of sovereignty at odds with the prosaic world of use-value. Proceeding first through their friendship, this paper then explores this thinking death through the contexts of French Hegelianism, Kojève and Heidegger. While holding much similar, the paper argues that Bataille’s transgressive, embodied and deindividuating visions of death present a form of community that was overlooked by Blanchot subsequently, with consequences for theories of community and collective power today. (shrink)

This paper focuses on the idea of tragedy in Marx. A comparison between Capital and Economic and Philosophic Manuscripts of 1884 is proposed, in order to assert that what happens to the human being goes through the understanding of his tragic condition in the bosom of capitalist production. It maintains that tragedy is the conflict in whose development the human being sacrifices his essential forces with the intention of producing new contents of life for him.

Summary This article argues that commerce and the language of finance had an important influence over the interpretation of curiosities in the early modern period. It traces how learned travellers in the years around 1700 were constantly reminded to watch their purses and to limit their expenses while on the road. As a result, monetary matters also influenced their appreciation of artificialia and naturalia. They judged and compared the aesthetic value of curiosities by mentioning their price. Money offered an easy, (...) telegraphic manner of signalling intrinsic worth. Visitors of cabinets paid attention to the financial value of the collector's books, paintings, and natural specimens, and kept mentioning it in their diaries and correspondence. The keen attention of students, scholars and amateur gentlemen to money suggests that, even if the Republic of Letters operated in a gift economy, its members were much aware of their gifts’ prices. Commercial values deeply infiltrated the erudite discourse of the period. (shrink)

According to theatre scholar Freddie Rokem, theatre portraying or performing historical events is seeking to overcome both the separation and the exclusion from the past, as well as ’striving to create a community where the events from this past will matter again’. This article covers the topic of interpretations of national history in Estonian theatre and in original dramaturgy during the Soviet era, with the focus on aspects like national self-reflection and the relationship to the common past. The main focus (...) is on the 1970s, with examples from Rein Saluri’s, Mati Unt’s and Jaan Kaplinski’s drama productions. During the period in question, re-tellings of national history on Estonian theatre stages were clothed in metaphors, allusions and secret codes – Aesopian language. Within the Soviet cultural context, I analyse if and to what extent theatre of the time displayed resistance, political theatre or social allegory. Theatre was also connected with the principle of playing or playfulness, which on one hand indicates national resistance, national endurance, and a certain survival strategy, but on the other hand indicates the Estonian as being an involuntary homo ludens – the Playing Man, who through various enforced roles is trying to adjust to the whirlwinds of history. Saluri’s first play, the intellectual drama Külalised, opens with an allusion to a drama classic the world over, William Shakespeare’s Hamlet, adding a powerful national-symbolic background to the play. The role-play which permeates and structures the play however, displays allegorical references to changes in the status and self-image of Estonians. In Unt’s play Peaproov, the principle of playing/acting sheds ironic light on the makers of an historical film and their readiness to create superficially flashy interpretations at any cost: this take acts as an estranging and generalising reflection in a context of general humanism on the one hand and artistic ethics on the other. Kaplinski’s Neljakuningapäev is based on a historically familiar tale about four Estonian kings. Here, the take with the play within the play helps amplify the play in both a mythical and a historically-philosophical manner as well as within the polemical stance of the author. (shrink)

In March 1603 the mortal remains of Queen Elizabeth I, against her stated wishes, were ‘opened’ to enable their temporary preservation until arrangements for her funeral could be completed. That post-mortem office was performed by members of the Worshipful Company of Barber-Surgeons of London, to whom her father had first granted a royal warrant to retrieve executed felons from the public gallows for their ‘better learning’ through lectures in anatomical dissection. In this article, portraiture of Elizabeth that appeals to the (...) notion of her as an embodiment of the sovereign state of England is compared with a contemporary portrait of an anatomy lesson being performed by the Barber-Surgeons, drawing connections between the dissection of felons under sovereign law and the violability of the sovereign (female) body in the liminal period between her death and the delayed formalities of ascension for James I. (shrink)

By dying, after three hours of dithering, Hamlet has finally asserted his manhood…– John Lahr, “Indecision 2008” To be, or not to be….– William Shakespeare, HamletThe word decision (like the word i...

We have long lived in a world made by global connections. Our products, our travels, our ideas--all of these have their origins in places and peoples both near and far. But when scholars narrate the history of the modern self, they ignore these connections and focus on changes in European science and philosophy. In this provocative new book, Avram Alpert argues that we need to rethink the story of the modern self as a global history. He first shows how canonical (...) European thinkers like Michel de Montaigne, René Descartes, and Immanuel Kant explicitly formed their ideas of selfhood in relation to the travel accounts flooding into Europe from colonial missionaries. He then pushes this history beyond Europe, showing how a diverse series of writers, including Ralph Waldo Emerson, W.E.B. Du Bois, Léopold Senghor, Frantz Fanon, and D.T. Suzuki, critiqued these ideas of global selfhood with their own creative responses. Spanning four continents and four centuries, the book argues that all of these writers partake of a shared global history forged in the violence of colonial rule. The resulting narrative shows that the modern self is not a European invention, but a global, evolving, and fraught attempt to make ourselves the kinds of beings who can live with the complexity of a world that is at once connected and never fully knowable. (shrink)

This aim of this study is to investigate the manner in which Deleuze’s individual and collaborative work can be productively understood as being concerned with the question of living well, where it will be suggested that living well necessitates that we not only become aware of, but that we also explore, the forever renewed present possibilities for living otherwise that each moment brings. In particular, this study will make an original contribution to existing Deleuzian studies by arguing that what legitimises (...) this conception of living well, and what can motivate us to engage in such a practice, is that a life that becomes aware of and explores the open field of present possibilities for living otherwise that each moment engenders is a life that reflects, or that is lived in accordance with, the challenging ontological account that can be discerned throughout Deleuze’s individual and collaborative work; a life lived in accordance with his open, dynamic and thoroughly temporal theory of Being or what I will suggest he came to refer to simply as ‘Life’. In addition, I will argue that in so far as each individual human being is to be understood as an ongoing and immanent expression of Life, an immediate expression of Life understood as a universal, impersonal and pre-individual dynamism, then a life that strives to explore the forever renewed present possibilities for living otherwise that each moment brings - a practice that I shall propose also necessitates that each individual strives to resist the diverse ways in which their present possibilities are continually hindered, thwarted and negated - is not only a life that strives to live in accordance with the temporal dynamism of Life, but is also a life lived in accordance with our own dynamic and thoroughly temporal being. (shrink)

Although Ian Hacking’s meta-concept is frequently applied to historical cases, few theorists have questioned the very idea of a style of reasoning. Hacking himself considers Donald Davidson’s conceptual scheme argument to be the most formidable challenge to the style idea, but Hacking has set up a straw man in Davidson. Beyond Hacking’s own conclusion, that Davidson's narrow concern with meaning incommensurability does not apply to styles, which are not incommensurable in that way, there is the more obvious point that styles, (...) which do not organize or fit the world, are not the kind of schemes with which Davidson is concerned. In fact, Hacking agrees with Davidson, in that both propose we can argue over a topic only when we employ the same style of reasoning (a suggestion which I contend is not necessarily the case). Hacking has a more serious problem, in that he cannot remain a Kantian without justifying his style idea with a transcendental argument. But this kind of argument is only available to those who support a univocal notion of reason, which the very idea of a style seems to outlaw. He has overlooked the challenges which arise out of Arthur Fine’s NOA. Hacking’s attention to historical detail and unwillingness to employ transcendental arguments in support of his view renders him immune to Fine’s arguments against inference to the best explanation. But the list of the necessary and sufficient criteria which identify styles of reasoning cannot prevent the proliferation of (bogus) styles. Moreover, Fine’s call for openness in inquiry shifts the burden of proof against Hacking and calls for him to prove: 1) that we cannot understand the history of science without the style meta-concept and 2) that whenever we encounter a mystery, our first order of business should be to stand back and uncover the style of reasoning which makes the predicament possible, instead of getting directly to the business of solving the problem. According to Fine, some puzzles just happen. And there is no guarantee that uncovering the style, which identifies the topic as a topic, will have anything to do with solving the mystery. Not only is there no such guarantee, but Hacking’s position, if it is to sidestep Davidson’s critique, actually requires that styles play only the minimal role of identifying topics. Styles must be fairly trivial. Fine thinks it is deeply unnatural to view science as entertainment. Philosophers are not to shine their lights on the action and watch it unfold. Rather, we are all to join the performance, thereby eliminating the artificial boundary between actor and audience which we mistakenly call upon to reinforce the notion that the raw material of science constrains our reflections about it. (shrink)