Some objects we value because they afford a felt connection with people, events, or places connected with their past. Visiting Canterbury cathedral, you encounter the place where, in 1170, Archbishop Thomas Becket was murdered by four knights of Henry II. Knowing that you are standing in the very place where Becket’s blood was spilled gives the past event a sense of tangible reality. One feels ‘in touch with’ the past; history seems to ‘come alive’. In this paper, I (...) propose an explanation for the phenomenology of such experiences in terms of an imaginative activity that represents what an object is historically connected with as part of the object in the present. One imagines of the site of Becket’s murder Becket being murdered. According to my account, objects that embody their histories are representations in Kendall Walton’s sense: they have the function of serving as props in games of make-believe. (shrink)

Humanity has begun to move from the natural world intothe cyber world. Issues surrounding this mentalmigration are debated in philosophical dialogue. Thelead character is Becket Geist, a romantic philosopherwith views tempered by 20th century science. He openswith a monologue in which he argues that loss of theworld in exchange for the cyber world is dark andinevitable. His chief adversary is Fortran McCyborg,a cyborg with leanings toward Scottish philosophy. The moderating force is Nonette Naturski who championsnaturalism, conservation of humanist ideals, (...) andprudent conclusions. The ensuing dialogue examineseight counter-arguments to Geist''s vision. Thearguments and Geist''s replies lead to unanticipatedchanges in position that cascade to a chillingclose. (shrink)

The central idea upon which plays of Micheal Frayn are established is that a text or event is reborn and reconstructed every time it is recited or recalled. He sublimated history, physics, and various dramatic techniques into splendid drama to reflect upon the dilemmas thrown to the human in today’s world of indeterminacy. It will be explored how Frayn has plied the ‘uncertainty principle’ to drama with a distance from Becket and Brecht by analyzing three plays. Furthermore, his expressed (...) perspective on the Brechtian notion of the ‘alienation effect’ is discussed. The plays chosen for this article are Noises Off (1982), Audience (1991), and Copenhagen (1998). (shrink)