A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a (...) corrective is a genuine scepticism about the very notion of the cognitive. Using historical reconstruction, I reveal how ‘cognitive’ has become a multiply ambiguous, theory-laden term in the wake of, indeed as a consequence of, Noam Chomsky’s original stipulative definition. This generates a constitutive problem for cognitivism as both a research programme and a set of claims, and as such poses a trilemma for philosophers of film, art and beyond. I propose a Cinematic Humanist solution to the problematic commitments of cognitive film theorising and, in so doing, gesture towards a methodology I am calling ‘philosophy of film without theory’. (shrink)

Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this lacuna (...) and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (shrink)

The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in (...) §2, and show that his focus on the cinematic experience is indicative of the direction the debate should take. §3 demonstrates that the issue is underpinned by the question of the role of reception conditions in the experience of art. In §4 I apply my observations on reception conditions to the problem of cinematic motion and conclude that Kania’s objections are unsuccessful due to his failure to acknowledge the necessary conditions for cinematic experience. (shrink)

As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required (...) in order to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We (...) are right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni (...) Riefenstahl. Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

The “scarred villain” trope, where facial differences like scars signify moral corruption, is ubiquitous in film (e.g., Batman’s The Joker). Strides by advocacy groups to undermine the trope, however, suggest cinematic representations of facial differences could be improving with time. This preregistered study characterized facial differences in film across cultures (US vs. India) and time (US: 1980-2019, India: 2000-2019). Top-grossing films by country and decade were screened for characters with facial differences. We found that the scarred villain trope has (...) actually worsened with time, although in tandem with progress in also representing non-villainous characters with facial anomalies. Country of origin did not predict the presence of facial differences in villains or heroes. “Action” and “fantasy” movies were the most likely genres to depict villains with facial differences. Finally, villains’ facial differences crossed more facial subunits and were more likely to involve lips, chin, and mandible than when present in heroes. Our findings underscore the need for critical reflection on the role of cultural practices—even when seemingly innocuous—in shaping and maintaining negative biases against already stigmatized groups. (shrink)

Detailed exploration of the Allegory of the Cave, utilizing notions from film studies, may provide us with insight regarding the identity of the puppet masters in Plato's allegory.

The article focuses on a philosophical issue of the Renaissance humanism in William Shakespeare's Hamlet. The humanist tradition originated in Greece with the famous statement “Of all things man is the measure” (Protagoras of Abdera, 485-415 BCE), but it was not until the Renaissance that it reached its peak and became a doctrine. The article focuses on the humanism of the Renaissance, with its glorification of the image of the "giant man," which is mainly expressed in the work (...) of William Shakespeare. By pointing out the nature of Renaissance humanism, the article emphasizes Hamlet's play as a typical work of Renaissance humanism. (shrink)

Humanism is the view that people treat others inhumanely when we fail to see them as human beings, so that our treatment of them will tend to be more humane when we (fully) see their humanity. Recently, humanist views have been criticized on the grounds that the perpetrators of inhumanity regard their victims as human and treat them inhumanely partly for this reason. I argue that the two most common objections to humanist views (and their relatives) are unpersuasive: not (...) only does the evidence marshalled against these views fail to actually disprove them, it could threaten them only if some questionable assumptions were granted. By providing necessary conceptual ground-clearing and routing common lines of attack, I hope to determine what it would take for a humanist project to succeed, paving the way for a full defense of humanism that fulfills its explanatory ambitions. (shrink)

This paper focuses on mystical humanism as magical realism.

In "Existential Humanism and Moral Freedom in Simone de Beauvoir's Ethics" Tove Pettersen elucidates the close connection between Beauvoir’s ethics and humanism, and argues that her humanism is an existential humanism. Beauvoir’s concept of freedom is inspected, followed by a discussion of her reasons for making moral freedom the leading normative value, and her claim that we must act for humanity. In Beauvoir’s ethics, freedom is not reserved for the elite, but understood as everyone being “able (...) to surpass the given toward an open future.” By addressing the continuing friction between individual freedom and public interests, Beauvoir’s normative thinking remains highly relevant today. It also exemplifies the enduring importance of humanistic reflections and demonstrates how, through critical and creative thinking, the humanities can contribute to a free, well-functioning democratic society. (shrink)

An exploration of the relationship between secular humanism and politics, from a liberal perspective.

In the coming decades humanists and trans-humanists need to wage a global campaign to radicalize the idea of human rights. We need to assert our rights to control our own bodies and brains, whether we choose to change our genders or medicate our brains. We need to assert that the measure of a society’s fairness is how universally available we make the prerequisites for achieving our fullest potential. We need to defend the right to enhance ourselves - whether through education (...) and exercise or genetic engineering and cybernetic implants. We need to extend these “human rights” and citizenship not only to all humans, regardless of nationality, but to all persons, ape, human, posthuman or machine. We need to build the global institutions that can protect the rights of persons, and expand the freedoms they enjoy. (shrink)

Humanists argue for assigning the highest moral status to all humans over any non-humans directly or indirectly on the basis of uniquely superior human cognitive abilities. They may also claim that humanism is the strongest position from which to combat racism, sexism, and other forms of within-species discrimination. I argue that changing conceptual foundations in comparative research and discoveries of advanced cognition in many non-human species reveal humanism’s psychological speciesism and its similarity with common justifications of within-species discrimination.

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

According to recent approaches in the philosophy of medicine, biomedicine should be replaced or complemented by a humanistic medical model. Two humanistic approaches, narrative medicine and the phenomenology of medicine, have grown particularly popular in recent decades. This paper first suggests that these humanistic criticisms of biomedicine are insufficient. A central problem is that both approaches seem to offer a straw man definition of biomedicine. It then argues that the subsequent definition of humanism found in these approaches is problematically (...) reduced to a compassionate or psychological understanding. My main claims are that humanism cannot be sought in the patient–physician relationship alone and that a broad definition of medicine should help to revisit humanism. With this end in view, I defend what I call an outcomes-oriented approach to humanistic medicine, where humanism is set upon the capacity for a health system to produce good health outcomes. (shrink)

Curren and Metzger’s work makes a bold, normative claim: The moral goal of sustainability is human flourishing. Their eudaimonic theory has as its summum bonum ‘living well’ according to the fundam...

Archimedes of Syracuse has long provided a touchstone for considering how we make and acquire knowledge. Since the early Roman chroniclers of Archimedes’ life, and especially intensively since Descartes, scholars have described, sought, or derided the Archimedean point, defining and redefining its epistemic role. “Knowledge,” at least within modernity, is rhetorically tied to the figure of the Archimedean point, a place somewhere outside a regular and constrained world of experience. If this figure still leads to useful ways of thinking about (...) knowing, we are left with the question of how different modes of making knowledge approach their “Archimedean” points. The question is especially important today as a renewed .. (shrink)

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...) choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

Article responds to the criticism of speciesism that it is somehow less immoral than other -isms by showing that this is a mistake resting on an inadequate taxonomy of the various -isms. Criticizes argument by Bonnie Steinbock that preference to your own species is not immoral by comparison with racism of comparable level.

Transhumanism is a means of advocating a re-engineering of conditions that surround human existence at both ends. The problem set before us in this chapter is to inquire into what determined its appearance, in particular in the humanism it seeks to overcome. We look at the spirit of overcoming itself, and the impatience with the Self, in order to try to understand why it seeks a saving power in technology. We then consider how the evolutionary account of the production (...) of organisms does not set them against a perfect standard, but rather injects in them a contingency that seems to be near to the heart of the problem. We then try to assess the objective basis for improvements and manipulation of nature, and although we do not find it forbidden on all occasions, it seems that the criteria for such alterations are impossible to detach from a form of eugenics. We finally open a window toward a theological account of the problem, and find that the desire of autonomy and independence is inevitably going to be challenged by the Christian dogma of creation. (shrink)

The position of this paper is that the political developments in Nigeria has bearing with Protagoras’ “man is the measure”. This dictum simply implies humanism. It is based on this that this work posits that humanism is what underlies and informs the political developments in Nigeria. Hence, it is argued that all the political eras in Nigeria have the well-being of human beings as their impetus. Thus, this work is premised on the need to meet up with the (...) welfare of Nigerians, in which its failure has resulted in the political developments experienced within the Nigerian-nation states. This conclusion is reached through critical analysis and evaluation. (shrink)

The humanistic science of Jewry, discussed from the empirical and historical viewpoint of Jewish economics & ethics.

My chapter aims to advance the debate on a problem often raised by philosophers who are skeptical of implied narrators in movies. This is the concern that positing such elusive narrators gives rise to absurd imaginings (Gaut 2004: 242; Carroll 2006: 179-180). -/- Friends of the implied cinematic narrator reply that the questions critics raise about the workings of the implied cinematic narrator are "silly ones" to ask. -/- I examine how the "absurd imaginings" problem arises for all (...) the central arguments for the elusive cinematic narrator and discuss why the questions critics pose about this narrator are legitimate ones to ask. (shrink)

In a 1995 interview, contemporary American composer John Zorn stated: ‘I got involved in music because of fi lm […] There’s a lot of fi lm elements in my music’ (Duckworth, 1995, p. 451). Scholars and critics have since widely noted these cinematic elements, with emphasis being placed on Zorn’s genre of so-called ‘fi le card compositions’. Whilst these studies have primarily concentrated on how the arrangement of sound blocks – the disjointed segments of Zorn’s compositions – can be (...) compared to cinematic montage, this article instead focusses on how sound blocks suggest the visual aspects of cinema. To delve deeper into the visuo-cinematic qualities of Zorn’s fi le card compositions, an idealised cinematic listener will be constructed, aided by various psychological, semiotic, philosophical and fi lm theories. I will suggest that a listener occupying a hypnogogic state projects moving images, akin to those of cinema, onto what Bernard Lewin fi rst called a ‘dream screen’. These projections occur due to intertextual associations made between fi le card compositions and the artistic fi gures to whom they are dedicated. These images combine with the sounds that brought them into being to form an audio-visual diegesis, which can be considered a type of half-imagined fi lm. The cinematic listener then actively draws out of this diegesis a narrative, via the semi-conscious process Boris Eikhenbaum called ‘inner speech’. I will conclude by giving some broader justifi cation for the methodology that brought this cinematic listener into being and suggest how the cinematic listener may be further utilised to provide musical analyses for fi le card works. (shrink)

A common perception of Spinoza casts him as one of the precursors, perhaps even founders, of modern humanism and Enlightenment thought. Given that in the twentieth century, humanism was commonly associated with the ideology of secularism and the politics of liberal democracies, and that Spinoza has been taken as voicing a “message of secularity” and as having provided “the psychology and ethics of a democratic soul” and “the decisive impulse to… modern republicanism which takes it bearings by the (...) dignity of every man,” it is easy to understand how this humanistic image developed. Spinoza’s deep interest in, and extensive discussion of, human nature may have contributed to the emergence of this image as well. In this paper, I will argue that this common perception of Spinoza is mistaken and that Spinoza was in fact the most radical anti-humanist among modern philosophers. Arguably, Spinoza rejects any notion of human dignity. He conceives of God’s - and not man’s - point of view as the only objective perspective through which one can know things adequately, and it is at least highly questionable whether he allows for any genuine notions of human autonomy or morality. The notions of ‘humanism’ and ‘anti-humanism’ have been discussed extensively -mainly among continental philosophers - since the end of World War II. Because these notions carry a variety of historical, ideological, and philosophical meanings, it is important to provide at the outset at least a rudimentary clarification of my use of these two terms. By ‘humanism’ I mean a view which (1) assigns a unique value to human beings among other things in nature, (2) stresses the primacy of the human perspective in understanding the nature of things, and (3) attempts to point out an essential property of humanity which justifies its elevated and unique status. This definition of philosophical humanism has only little in common with the historical notion of Renaissance humanism, and seems to match quite well the common understanding of philosophical humanism suggested by current philosophical dictionaries and encyclopedias. This notion of humanism should be understood in contrast to two competing positions. On the one hand, in contrast to the theocentric position that considers humanity to be radically dependent upon God, humanism affirms at least some degree of human independence. On the other hand, in contrast to the naturalist position which endorses the scientific examination of human beings just like any other objects in nature, humanists affirm the existence of a metaphysical and moral gulf between humanity and nature. This gulf assigns a special value to humanity and does not allow us to treat human beings like any other things in nature. For many humanists the nature/humanity gulf does not allow the application of the methods of natural sciences to the disciplines of the humanities. Humanism does not begin with modernity. In order to see how far back we can trace this position, we may recall Protagoras’ saying: “Man is the measure of all things, of things that are, that they are, and of things that are not, that they are not.” In modern philosophy, the humanistic position had regained dominant status since the Renaissance, and variants of this position were vigorously argued for by prominent thinkers such as Pico della Mirandola, Descartes, Leibniz, Kant, Fichte, and finally, Hegel. In this paper, I will argue that Spinoza was a foe, and not a friend, of this tradition. I suggest that, in contrast to these humanist philosophers, Spinoza considers man as a marginal and limited being in nature, a being whose claims and presumptions far exceed its abilities. “To what length will the folly of the multitude not carry them?.... [T]hey imagine Nature to be so limited that they believe man to be his chief part.” Arguably, Spinoza locates the origin of our most fundamental metaphysical and ethical errors in a human hubris which not only tries to secure humanity an exceptional place in nature but also attempts to cast both God and nature in its own human image. (shrink)

In this essay, we aim to ground an alliance between Cynthia Willett’s theory of an ethics of eros and Hasana Sharp’s argument for a politics of renaturalization. Both approaches seek a vocabulary and practices for ethical life, which is not circumscribed by the requirement of rationality and is deeply attentive to relationships. The relations to which an ethics of eros and renaturalization must attend include social relations – the tender ministrations of mothers, lovers, and friends that sustain and nourish (and (...) sometimes threaten) each of us. Our lives, bodies, and minds, however, are also deeply involved with the nonhuman environment. Our existence depends on air, water, bacteria, shelter, and infinite other nonhuman beings. Our desires and needs include a habitable environment and even "biophilia." The increasing fragility of our ecosystems suggests that there is more need than ever for an ethics that goes not just beyond man – although that is certainly an ongoing project – but beyond the human. This essay is an attempt to ally our approaches in the feminist effort to produce a broad basis for ethics, allowing for a robust consideration of nonhuman nature. (shrink)

To the degree that we succeed in our campaign for personhood over human-racism we will fulfill the dreams of our humanist forebears.

This article offers a review of Richard Rorty’s attempts to come to terms with the role of religion in our public and intellectual life by tracing the key developments in his position, partially in response to the ubiquitous criticisms of his distinction between private and public projects. Since Rorty rejects the possibility of dismissing religion on purely epistemic grounds, he is determined to treat it, instead, as a matter of politics. My suggestion is that, in this respect, Rorty’s position is (...) best construed as that of a humanist rather than a post-modernist. Ultimately, it appears that, in his view, the positive element of religion—i.e. the idea of religion as a social gospel—has been absorbed and transformed into a utopian striving which humanists associate with the ideal of democracy. Hence, in this regard, religion can be considered obsolete. Yet, without explicitly invoking the usual epistemic grounds, Rorty’s arguments for excluding religion from the public sphere remain rather thin, and an interest in reforming rather than excluding religion would have been more consistent with his general outlook. (shrink)

This paper is a philosophical discussion about the link between utopianism and responsibility. It argues that our time demands a strong practice of political responsibility in both organizations and society based on what has been called ‘real utopianism’. It takes as a starting point Hans Jonas’ critique of utopianism. Keeping in mind the horrors of the Second World War this Jewish thinker disconnected the principle of responsibility from the idea of utopianism, and connected it to a ‘heuristics of fear’ – (...) we should be careful with ‘wild’ new technologies, but also with new utopian perspectives. In a second step Jonas’ predecessors and utopian thinkers Martin Buber, Ernst Bloch and Ernest Callenbach are revisited. They show that a fully conceptualized idea of utopianism includes at least three dimensions of responsibility: subsistence, justice and spirituality. I then argue that if one digs deeper into the work of Jonas, it seems that the concept of responsibility in fact implies the courage to overcome a heuristics of fear. This paper therefore argues that there is no need to radically disjunct responsibility from utopianism and that the concept of responsibility actually opens a path to ‘real utopianism’. Such a concept of responsibility can best be supported by a confessionally neutral but nonetheless spiritual eco-humanist worldview that develops a new attitude towards nature, in which (eco)asceticism, morality and spirituality become intertwined. (shrink)

Three important 20th-century American films prominently feature a hotel as the site for morally ambiguous and sexually charged events depicted in the plot: Orson Welles's Touch of Evil (1958), Alfred Hitchcock's Psycho (1960), and Joel and Ethan Coen's Barton Fink (1991). While all three films have a multiplicity of elements that present how hotel spaces open horizons displaying human behaviors both normal and abnormal, moral and immoral, secret and public, sane and insane, the paper presents an extended argument for seeing (...) these particular cinematic efforts as being built around the same theme: that transgression (of a violent, misogynous nature) is the path to transcendence. (shrink)

In this address, Leslie Allan shares his early experiences and how they shape his humanist outlook today. He then outlines what he considers to be the three core principles underlying the humanist world view and illustrates their application with historical and contemporary examples. He concludes by drawing upon each of these principles to tease out what it means to live a good life; a life of meaning and purpose.

В противостоянии эгоизма и гуманизма лишь „возделывание души“ может предотвратить всеобщее падение в пропасть безумия и мракобесия.

Anglo-Americans tend to see themselves as isolated individuals who recognize that their self-interest requires them to cooperate and thus submit to moral rules or moral authorities as long as others agree to do the same. But this picture fails to acknowledge a deeper interconnectedness to the persons and places we live with, and so it fails to sustain an understanding of why our social and natural ecology is important to our flourishing. Fesmire advocates that we cultivate metaphors that more accurately (...) reflect our interdependence and clarify why we must be more responsive to environing conditions. [Abstract adapted from the revised version of this article reprinted in in Moral Soundings: The Crisis of Values in Contemporary Life, edited by Dwight Furrow (Rowman & Littlefield, 2004)]. (shrink)

The aim of this article is to situate Arendt’s account of labour as a critical response to humanisms of labour, or put otherwise, to situate it as an anti-humanism of labour. It compares Arendt’s account of labour with that of the most prominent humanist theorist of labour at the time of the composition of The Human Condition: Georges Friedmann. Arendt’s and Friedmann’s accounts of labour are compared specifically with respect to the range of capacities, social relations, and possibilities of (...) fulfilment at stake in the activity of labour. The comparison provides a previously unexplored context for understanding Arendt’s account of labour and her distinction between labour and work. The relevance of Arendt’s and Friedmann’s theories of labour for the contemporary debate about the meaning of work in an age of automation is also briefly discussed. (shrink)

My book "Humanism - A Philosophic-Ethical-Political-Economic Study of the Development of the Society" defines the system that will replace capitalism and finally create a good society .

This chapter describes some of the varieties of philosophical humanism and different conceptions of, and attitudes towards, the natural sciences. I focus on three kinds of humanism evident in 20th century European philosophy – humanism as essentialism, humanism as rational subjectivity, and existential humanism. Some are strongly allied to the sciences, others are antipathetic to them, while others offer subtler positions. By emphasising this diversity, I want to oppose claims about the inevitability of an 'alliance' (...) of science to humanism, and that claim that to be a humanist is something we must approve or applaud. At best, those 'alliances' and that praiseworthiness will only be true of certain varieties of humanism. (shrink)

The humanism of modernity, in its exclusive reliance on rationality and the scientific method, has been viewed as a pejorative understanding of ‘man’ that deliberately isolates it from the divine. This paper attempts to regain humanism from its position that seems to jeopardize the human tendency for the Transcendent through a synthesis of Chinese philosophy and the major tenets of Christianity. A close analysis of the predominant Chinese thought in Lao Tzu and Confucius shows that its entire history (...) is characterized by humanism, defined, not as that which denies the divine but as one that "proposes the unity of man and Heaven." This consilience between man and Heaven is realized in the sage. Similarly, Christianity, albeit the antagonism of humanism, is in fact "the greatest humanism that has ever appeared [and] that could ever appear," manifested by its adherence to theosis – God becoming man, so that man might become God. From this standpoint, humanism still proves to be relevant for those with religious inclinations in the light of its fuller understanding through its dialectic with Chinese and Christian philosophy. (shrink)

The article discusses the actual problem of social support for people with mental health problems, which has an important place in the study field of social psychology and social work.The article also deals with the definition of the concept of “mental health”, the problem of introducing the term “mental health problems” as a way to avoid stigmatization, and the spread of a humanistic attitude to persons with a psychiatric diagnosis. It also discussed modern theoretical approaches that offer an understanding of (...) the contribution of biological, social, and psychological factors into the cause of mental health problems. -/- The problem of mental illness is common to all countries of the world, as WHO data evidenced the number of people with mental disorders among the world’s population, ranging from 4–5 %. According to researchers P. Voloshin and N. Maruta, the spread of mental and behavioral disorders in Ukraine is characterized by a slow increase of about 2.9 % in every 10 years. Researchers argue that in subsequent years, according to the prognostic data, there will be an increase in these indicators. The issue of providing social support to people with PDS in Ukrainian society is very relevant, which is complicated by their social isolation in the process of recovery after the treatment. The results of scientific research in the context of different cultures and relatively diverse life events (hospitalization, mental illness, unemployment, old age) generally confirm the positive results of using social support to promote mental and physical health. Instead, there are no studies in Ukrainian science related to the phenomenon of social support of people with mental health problems. -/- It is important to define the concepts of “mental health” and “mental health problems” in the process of studying the features of social support for people with mental health problems. The term “mental health” combines the medical and psychological fields of science and practice, but modern psychology offers a comprehensive approach to assessing the psychological health of a person, the psychological norm, its limits, taking into account the criteria of mental health. The description of the mental health given by the Psychological Dictionary points out the components of awareness and the sense of continuity, continuity and identity of their physical and mental “I”; sense of continuity and identity of experiences in similar situations; critical to yourself and your mental activity and its results; the adequacy of psychic reactions of force and frequency of environmental influences; the ability to manage their behavior in accordance with social norms; planning personal activities and implementing them; changing the way of behavior depending on the changing circumstances of life. -/- The concept of “mental health problem” was taken as a term that denotes all the symptoms classified in ICD-10 and DSM-IV, which are recommended by experts to clients for appropriate treatment and care. Scientists and mental health practitioners point out that mental health problems can affect the way an individual thinks, feels, and behaves; affects self-service, fulfills professional duties, social, family roles, and household behavior, which is usually deeply affected by the quality of life of the individual. Numerous results of the research show that there are specific psychological and personality factors apart from the biological causes of mental disorders (genetic factors that contribute to the imbalance of chemicals in the brain) that make people vulnerable to occurrences of the mental health problems. -/- Several modern theoretical approaches offer an understanding of the contribution of biological, social, and psychological factors to the induction of mental health problems: the traditional medical model, the rehabilitation model, the interface model, the social model, and the biopsychosocial approach. Only biopsychosocial and social models are consistent with the definition of WHO disability and emphasize the impact social aspects of mental health and the quality of life of people with mental health problems. -/- Individuals with PPP, as a social community, have specific needs that differentiate them from other members of society, one of which is the need for constant socio-psychological support. So, the contribution of psychology and social work to the quality of life of people with mental disorder lies in the application of professional approaches and methods based on the biopsychosocial (social) model, which emphasize the need for socio-psychological support. An example of such a technique is the model of modern social work practice “people-in-environment”, which serves as a guiding principle of social work and emphasizes the importance of understanding the persons with disorder and their behavior in the light of the multiple context of the social environment in which these persons live and act. Specialists of social work and psychology make interventions at three levels: individual, at the family level, and at the community level, by means of intensifying the support of the environment within the cognitive-behavioral and other approaches, which contribute to the process of reintegrating people with mental health problems into community. (shrink)

Abstract The article undertakes ina socio- economic-political order free from exploitation, dogma, superstitions and discrimination, wherein every individual occupies the center stage in collective life. He is critical of speculative lain the empirical realities. It is argued that since the empirical realities are explainable by laws of nature postulation of transcendental entities is redundant and unwarranted. He seeks to show the futility of Parliamentary democracy as it vests power with the elected minority whereas the real power should rest in the (...) people at the grassroots through village committee. Man is rational at the core. acumen is not allowed to be overpowered by the non-rational factors. It is human will that determines the course of history. Politics and ethics must go hand in hand. Ethics has its origin in -centric. Roy ignores the fact that human existence is dependent on the non-humans species i.e. flora, fauna and inanimate forces of nature as well. Therefore values should be such that they not only offer a shared forum for human beings to share and care for their fellowmen but also the flora and fauna. Hence, in order to usher in the new society what is the need of the hour is cultivation of holistic values, As is the perception of reality (worldview), so is the nature of values. Holistic values presuppose a Cosmo-centric ontology. There is the necessity of a holistic ethical paradigm which is possible only when people by and large, perceive interrelatedness and interdependence of things and beings and the underlying unity beneath apparent diversity. (shrink)

Prisoners involved in the Attica rebellion and in the recent Georgia prison strike have protested their dehumanizing treatment as animals and as slaves. Their critique is crucial for tracing the connections between slavery, abolition, the racialization of crime, and the reinscription of racialized slavery within the US prison system. I argue that, in addition to the dehumanization of prisoners, inmates are further de-animalized when they are held in conditions of intensive confinement such as prolonged solitude or chronic overcrowding. To be (...) de-animalized is to be treated not as a living being who is sustained by its mutual relations with other living and nonliving beings, but rather as a thing to be warehoused and/or exchanged for a profit. The violence of de-animalization affects both human and nonhuman animals held in control prisons, factory farms, laboratories and other sites of intensive confinement. In order to make the connections between these sites, and to develop forms of solidarity appropriate to our shared animality, we need a post-humanist critique of intensive confinement that breaks with the logic of opposition between human and animal, and articulates our constitutive relationality as (inter)corporeal beings. (shrink)

This chapter contains section titled: Historical Background Early Modern Eclecticism and Philosophical Humanism Early Modern Platonism Conclusion.

The educational philosophies of John Dewey, Paulo Freire and Tsunesaburo Makiguchi were born at different times and in different cultures but the themes they propound resonate with the ordinary people. Although there are ideas that are unique to each philosophy, this paper tries to uncover the themes that are similar in them. The purpose to uncovering these themes is to try in some way to form a unifying force that opens a path to making the ideas rather than the person (...) resonate among people. The three philosophers were not interested in recognition but rather sought the welfare of their fellow human beings as their purpose. As such, their hope was that their ideas would be turned to action by people rather than adoration of their philosophies. Increasingly, educators are seeking ways to harmonize their ideas and ideals with other educators in order to build a strong counterbalance to the historically prevalent divisive and prejudicial societal structures that inhibit human development. Paolo Freire points out that such a counterbalance would ultimately benefit the oppressed and the oppressor. In order to accomplish this, educators will need to put aside small philosophical differences and focus on the more meaningful themes that unite them. The interconnectedness of humanity and nature is becoming increasingly apparent in all realms of human activity. Future research and educational work must begin to turn away from its divisive nature and look for themes of harmony within and between disciplines. Instead of looking for ways to reject each other we need to research ways of uniting each other, not only for our own sake but for the sake are future generations. (shrink)

A Confederacy of Dunces (Confederacy) by John Kennedy Toole portrays an interplay between competing definitions of humanism. The one school of humanism—called by some the Modernist Paradigm—saw the Italian Renaissance as the origin of nineteenth- and twentieth-century modernist views that celebrated science, technology, and individual human freedom. The other school, led by Paul Oskar Kristeller, sought to historicize humanism by establishing that Renaissance writers and thinkers were generally conservative and preserved the philosophical ideas of the medieval era. (...) Kristeller was the President of the Renaissance Society of America and was at the height of his influence at Columbia University during the late 1950s, when Toole studied for his Master’s degree there. The main character in Confederacy, Ignatius J. Reilly, presents a parody of Kristeller’s position, which he uses to critique modern society. Ignatius also plays the part of a child of the planetary god Saturn, both by acting out the ancient astrological tradition of associating Saturn with misfortune and disorder and by being a parody of the Renaissance concept of the Genius as a Child of Saturn begun by the Renaissance philosopher whom Kristeller studied most, Marsilio Ficino. Ignatius’s worldview is an antithesis of the Modernist Paradigm. Confederacy is critical of both Modernist humanism with its attendant materialism and its antithesis—Ignatius’s dysfunctional version of Kristeller’s Renaissance philosophy. When the community expels Ignatius as a scapegoat, Toole appears to gesture toward a dialectical synthesis of the two concepts of humanism in the novel’s happy ending. (shrink)

“Do Anthropocene narratives confuse an important distinction between the natural and the historical past?” asks Giuseppina D’Oro. D’Oro defends the view that the concept of the historical past is sui generis and distinct from that of the geological past against a new, Anthropocene-inspired challenge to the possibility of a humanistically oriented historiography. She argues that the historical past is not a short segment of geological time, the time of the human species on Earth, but the past investigated from the perspective (...) of a distinctive kind of interest, that of uncovering the norms which governed historical agents in different periods of time. The past for the Egyptologist, or for the Roman historian, is not the same past studied by the palaeontologist or the geologist, not because it is infinitesimal short in comparison to geological time, but because the questions asked by historians concerned with the Egyptian or Roman civilization are not the same kind of questions asked by empirically minded scientists. She argues that the accusation that the distinction between the historical and the natural/geological past, rests on unacceptable form of human exceptionalism is based on the conflation of the concept of the historical past with that of the human past and that keeping alive the nature/culture distinction has important implications for praxis. If the distinction between nature and culture is collapsed, and the corollary that historical agents are not distinct in kind from natural agents (such as yeast and microbes) is accepted, then “the anticipation of the future would become a mere spectator’s sport analogous to the activity of predicting the weather”: collapsing the nature culture distinction, D’Oro argues, undermines the possibility of political action against the very threat (climate change) that motivates Anthropocene narratives in the first instance. (shrink)