In this paper, I argue that the performance stories in the Zhuangzi, and the Butcher Ding story, emphasize an activity meditation practice that places the performer in a mindfulness flow zone, leading to graceful, efficacious, selfless, spontaneous, and free action. These stories are metaphors showing the reader how to attain a meditative state of focused awareness while acting freely in a flow experience. From my perspective, these metaphors are not about developing practical or technical skills per se. My argument (...) challenges a strict instrumental reading. Although instrumental reasoning can easily lead one to focus on the pragmatic outcomes depicted in these stories (See Eno, “Cook Ding’s Dao;” Callahan, “Cook Ding’s Life;” and Robins, “Beyond Skill”), the proposed pragmatic outcomes are merely a kind of collateral result of effortless, free actions, in the flow experience. The metaphors of Butcher Ding, the Lüliang rapids swimmer, the Wheelwright Bian, the Woodcarver Qing, the cicada catcher, the naked artist and so on are used to show the reader a way to engage in free and graceful action in the flow experience. Zhuangzi is not concerned about developing labour skills. He criticizes such skills; seen below when the Butcher claims to have “… left skill behind …” (進乎技矣) (Graham, Chuang-tzu, 63), and chapter five notes that “… skill is a peddler” (工為商) (Watson, Complete, 75). (shrink)

This is a theoretical treatment of the term "Sha Zhu Pan" (杀猪盘) in Chinese, which translates to “Pig-Butchering” in English. The article critically examines the propagation and validation of "Pig Butchering," an animal metaphor, and its implications for the dehumanisation of victims of online fraud across various discourses. The study provides background information about this type of fraud before investigating its theoretical foundations and linking its emergence to the dehumanisation of fraud victims. The analysis highlights the disparity between academic literature, (...) subjected to rigorous peer-review processes, and sensationalised narratives prevalent in the media. While academic works subject "pig butchering" to critical scrutiny and refrain from endorsing derogatory terms to depict fraud victims, numerous media outlets employ this term uncritically, further worsening the predicament of these victims. "Pig butchering" is firmly rooted in the concept of dehumanisation, and this article underscores how language moulds perceptions of fraud and behaviour, extending to the development of preventive strategies. The role of law enforcement agencies in generating and disseminating materials is also a central theme, emphasising their responsibility as trusted sources of information. We suggest that these agencies should adopt non-victim shaming language to encourage victims to report crimes and alleviate the stigma attached to victimisation. Additionally, the article offers valuable cross-cultural insights by comparing metaphors from Chinese and Nigerian contexts. This comparative analysis enriches our comprehension of the global dimensions of online fraud and its cultural diversities, highlighting the substantial impact of language on perceptions and behaviours. We advocate for a departure from victim-blaming tendencies perpetuated by select media outlets, urging a more compassionate and accurate portrayal of those affected by online fraud. We, therefore, call for a more empathetic and accurate portrayal of individuals affected by online fraud, aligning with the broader objective of promoting understanding and support for these victims. (shrink)

In the Phaedrus, Socreates sympathetically describes the ability “to cut up each kind according to its species along its natural joints, and to try not to splinter any part, as a bad butcher might do.” (265e) In contemporary philosophy, Ted Sider (2009, 2011) defends the same idea. As I shall put it, Plato and Sider’s idea is that limning structure is an epistemic goal. My aim in this paper is to articulate and defend this idea. First, I’ll articulate the (...) notion of a structural proposition (§1), and the notion of an epistemic goal (§2), where I’ll assume that epistemic goals are species of accuracy. Then (§3), I’ll argue against some proposals for understanding the idea that limning structure is an epistemic goal: limning structure is neither an aim of belief (§3.1), nor of inquiry (§3.2), nor of concept possession (§3.3). Importantly, non-structural belief is not thereby inaccurate; belief does not “aim” at being structural. Next (§4), I’ll propose a framework for understanding the idea that limning structure is an epistemic goal, and defend that idea. What is required, to defend the view that limning structure is an epistemic goal, is the notion of (what I call) theorizing – a propositional attitude that, unlike belief, does “aim” at being structural (§4.1). I’ll argue that structural truths constitute a species of “important” truths (§4.2), and that apt theorizing is a species of understanding (§4.3). Finally (§5), I’ll discuss the possibility that there is no structure. (shrink)

Good chefs know the importance of maintaining sharp knives in the kitchen. What’s their secret? A well-worn Taoist allegory offers some advice. The king asks about his butcher’s impressive knifework. “Ordinary butchers,” he replied “hack their way through the animal. Thus their knife always needs sharpening. My father taught me the Taoist way. I merely lay the knife by the natural openings and let it find its own way through. Thus it never needs sharpening” (Kahn 1995, vii; see also (...) Watson 2003, 46). Plato famously employed this image as an analogy for the reality of his Forms (Phaedrus, 265e). Just like an animal, the world comes pre-divided for us. Ideally, our best theories will be those which “carve nature at its joints”. While Plato employed the “carving” metaphor to convey his views about the reality of his celebrated Forms, its most common contemporary use involves the success of science -- particularly, its success in identifying distinct kinds of things. Scientists often report discovering new kinds of things -- a new species of mammal or novel kind of fundamental particle, for example -- or uncovering more information about already familiar kinds. Moreover, we often notice considerable overlap in different approaches to classification. As Ernst Mayr put it: No naturalist would question the reality of the species he may find in his garden, whether it is a catbird, chickadee, robin, or starling. And the same is true for trees or flowering plants. Species at a given locality are almost invariably separated from each other by a distinct gap. Nothing convinced me so fully of the reality of species as the observation . . . that the Stone Age natives in the mountains of New Guinea recognize as species exactly the same entities of nature as a western scientist. (Mayr 1987, 146) Such agreement is certainly suggestive. It suggests that taxonomies are discoveries rather than mere inventions. Couple this with their utility in scientific inference and explanation and we have compelling reason for accepting the objective, independent reality of many different natural kinds of things.. (shrink)

This paper is a critique of coercive theories of meaning, that is, theories (or criteria) of meaning designed to do down ones opponents by representing their views as meaningless or unintelligible. Many philosophers from Hobbes through Berkeley and Hume to the pragmatists, the logical positivists and (above all) Wittgenstein have devised such theories and criteria in order to discredit their opponents. I argue 1) that such theories and criteria are morally obnoxious, a) because they smack of the totalitarian linguistic tactics (...) of the Party in Orwell’s 1984 and b) because they dehumanize the opposition by portraying them as mere spouters of gibberish; 2) that they are profoundly illiberal since if true, they would undermine Mill’s arguments for free speech; 3) that such theories are prone to self-contradiction, pragmatic and otherwise; 4) that they often turn against their creators including what they were meant to exclude and excluding what they were meant to include; 5) that such theories are susceptible to a modus tollens pioneered by Richard Price in his Review Concerning the Principle Questions of Morals(1758); and 6) that such theories are prima facie false since they fail to ‘predict’ the data that is it their business to explain (or, in the case of criteria, fail to capture the concept that they allegedly represent). The butcher’s bill is quite considerable: some of Hobbes, a fair bit of Locke, half of Berkeley, large chunks of Hume, Russell's Theory of Types, verificationism in its positivist and Dummettian variants, much of pragmatism and most of Wittgenstein - all these have to be sacrificed if we are to save our souls as philosophic liberals. (shrink)

In the poem "Reuben Bright," the speaker initially harbors a prejudiced view of Reuben, a butcher, but this prejudice transforms into awe as the speaker observes Reuben's profound change following the death of his wife. The poem delves into the theme of loss experienced by a wife and the ensuing pain endured by her husband, resulting in a profound and shattering event that triggers significant personal growth. The central focus of the poem lies in the consequential changes that Reuben (...) undergoes as a result of this tragic event. Despite the dramatic context, the reader is guided through the poem by a distanced speaker who consistently refers to Reuben in the third person. This distancing creates two layers of separation between the reader and Reuben: one between the speaker and Reuben and another between the reader and the speaker. This sense of detachment is evident in the poem's sestet, part of an Italian sonnet, and contains symbolic imagery in the form of chopped-up cedar boughs, alluding to Reuben's spiritual transformation. Additionally, the communal change in perception of Reuben is highlighted in the only two instances where the lyric "I" of the speaker appears in the poem, emphasizing the shift in the speaker's viewpoint from prejudice towards Reuben to a profound sense of awe. (shrink)

This article examines the ways in which Adam Smith and G. W. F Hegel conceptualize the identity of workers in a market economy. Although both see human beings as shaped in and through social rela- tionships, the relation between the worker and his work is seen in different ways. For Smith, workers “have” human capital, while for Hegel workers “are” brewers, butchers or bakers;; their profession is part of their identity. This conceptual difference, which is reflected in different “varieties of (...) capitalism” today, shows that not only degrees, but also kinds of embeddedness need to be taken into account in discussions of the relation between individual and society. (shrink)

We arrived at the neighborhood in Antwerp where our accommodation, Adagio Aprthotel, was located. The presence of immigrants was the one of the first things that caught my attention. They are everywhere. Enroute to the shops past the train station after dropping off our bags, Amiel and I passed a synagogue, and at McDonald’s (yup, my first meal in Belgium was french fries!), seated at the next table were two Filipinos. Overhearing their chatter, I surmised that they have been living (...) in Antwerp for some time. While intently exploring the surrounding streets, it became obvious that there is a profusion of migrant communities in Antwerp offering a multifaceted panorama of cultural diversity. This iss underscored by the conspicuous presence of Orthodox Jews, Arabs, Africans, and Chinese, the latter ensconced in their own Chinatown. Our neighborhood afforded immersion within a milieu teeming with migrant-owned enterprises, from butcher shops and corner stores to quaint cafés and eateries, predominantly overseen by Middle Easterners and Jews. Our first communal meal was, in fact, at an Arabic restaurant just across our accommodations. (shrink)

The importation of Lacanian psychoanalysis into film theory in the 1970s and 1980s ushered in a new era of cinema scholarship and criticism. Figures including Raymond Bellour, Laura Mulvey, and Christian Metz are often considered the pioneers of applying Lacanian psychoanalysis in the context of film theory, most notably through their writings in Screen Journal. However, where French and British scholarship on Lacan and film reached its limits, American Lacanianism flourished. When Joan Copjec’s now classic essay “The Orthopsychic Subject: Film (...) Theory and the Reception of Lacan” was published in 1989, the trajectory of Lacanian film theory would become radically altered; as Todd McGowan recently put it, the “butchered operation” on Lacan committed by Mulvey and (quoting Copjec) the “Foucaultianization” of Lacan under the auspices of Screen Journal were finally indicted in one gesture through Copjec’s critique. Copjec and McGowan’s unique American view of Lacan marks a pivotal point in the convergence of psychoanalytic theory and cinema studies; by seeking to wrest Lacan from historist/deconstructionist theories of the subject, and by revisiting Lacan beyond the mirror stage, Copjec and McGowan can be said to have instantiated a resuscitation or even a renaissance of Lacanian theory in film studies in particular and in American scholarship more generally. In this essay, this renaissance of Lacanian theory is examined, focusing on the innovations these two American thinkers brought to psychoanalytic film theory and the multiple paths carved out into other disciplines that followed. First, a detailed summation of the contentions between screen theory and Copjec’s position is introduced, as well as McGowan’s assessment thereof. Then, the trajectory of psychoanalytic film theory after Copjec’s arrival is the focus, including the major innovations in her thought from cinematic subjectivity to sexual difference (most notably from Read My Desire) and the way her position spread to philosophy and ontology. Finally, the article identifies the limitations of Copjec’s and McGowan’s thought and seeks new possibilities through which we may continue to apply psychoanalysis to the cinema in the wake of these two important thinkers. L’importation de la psychanalyse lacanienne dans la théorie du film au cours des années 1970 et 1980 a apporté une nouvelle ère de recherche et de critique cinématographiques. Des figures comme Raymond Bellour, Laura Mulvey et Christian Metz sont souvent considérées comme étant les pionniers dans l’application de la psychanalyse lacanienne au contexte de la théorie du film, surtout dans leurs écrits pour le Screen Journal. Par contre, là où les recherches françaises et britanniques sur Lacan et la cinématographie ont atteint leurs limites, le lacanisme américain a prospéré. La publication en 1989 de « The Orthopsychic Subject: Film Theory and the Reception of Lacan », l’essai classique de Joan Copjec, a complètement changé la trajectoire de la théorie lacanienne du film; comme Todd McGowan l’a récemment exprimé, « l’opération massacrée » commise sur Lacan par Mulvey et (citant Copjec) la « Foucaultisation » de Lacan sous les auspices de Screen Journal avaient finalement été accusées d’un seul coup par la critique de Copjec. Le point de vue uniquement américain de Copjec et de McGowan sur Lacan marque un tournant dans la convergence de la théorie psychanalytique et des études cinématographiques. En cherchant à arracher Lacan des théories historicistes/déconstructivistes du sujet, et en revisitant Lacan au-delà du stade du miroir, Copjec et McGowan ont instancié une ressuscitation, voire une renaissance, de la théorie lacanienne dans les études cinématographiques en particulier et dans les études américaines en général. Dans cet article, cette renaissance de la théorie lacanienne est examinée, mettant l’accent sur les innovations que ces deux penseurs américains ont apportées à la théorie psychanalytique du film et les multiples chemins tracés dans d’autres disciplines subséquentes. Premièrement, un résumé détaillé des différends entre la théorie du film et la position de Copjec est présenté, ainsi que l’évaluation de McGowan à ce sujet. Puis, la trajectoire de la théorie psychanalytique du film après l’arrivée de Copjec est mise de l’avant, notamment les innovations importantes de sa pensée de la subjectivité à la différence sexuelle (particulièrement dans Read My Desire) et la manière dont sa position s’est propagée dans la philosophie et l’ontologie. Finalement, l’article identifie les limites de la pensée de Copjec et de McGowan et cherche de nouvelles possibilités à travers lesquelles nous pourrions continuer d’appliquer la psychanalyse au cinéma après ces deux grands penseurs. (shrink)

In his 1968 poetry collection „Fadensonnen“, Paul Celan offers a hermetic blend of existentialism and mysticism, which is unusual in two respects. Firstly, the European philosophy of existence, especially with its proponents Jean-Paul Sartre, Albert Camus and Martin Heidegger, had gone to great lengths to criticize and delegitimize the Abrahametic religions, for the concept of god seemed to be an obstacle to humanity in pursuit of its own humanization. Secondly, in the aftermath of the holocaust, the idea of man wanting (...) to merge with a god that had not prevented this cruelty from happening had lost much of its plausibility. Despite these two objections, Celan's poems address the struggle of togetherness in a world that negates the mere possibility of otherness, trying to salvage the unique identity and dignity of the other. With this in mind, the modus operandi of his poems is that of a butcher: Whatever has previously been alive – before the Shoah – now has to be stripped bare of its layers of individual and collective history, has to become less than body and flesh. In this way, the poems' inherent pain and misery transform the reader into a nobody, for only a nobody has got the prerequisites to encounter other people unbiasedly in their unique wholeness. Within this space of encounter, only the reminiscence of body and sexuality exists, commemorating the other, so that radical corporeality seems to be the prerequisite for togetherness. In this ahistorical sphere there is no room for a god that permitted the holocaust, redefining mysticism as the connection between men instead of one between man and god. Celan's poems act as a catalyst, for they exclude god from the spheres of man, making poetry a memorial site to the dead and the ones living in pain. This way, the poems are trying to save Eros (in the sense of creaturely love) from being mutilated by the crimes of European history while at the same time aiming at rehabilitating mankind in a post-holocaust world. (shrink)