Over the last three years I have been fortunate to teach an unusual class, one that provides an academic background in ethical and social and political theory using the medium of comedy. I have taught the class at two schools, a private liberal arts college in western Pennsylvania and a public regional state university in southern Georgia. While the schools vary widely in a number of ways, there are characteristics that the students share: the school in Pennsylvania had a (...) large population of students raised in a middle class industrial context, and the school in Georgia had a majority of students from middle-to-lower class agricultural backgrounds. Because of recent collapses in the economy of the tool and dye industry in the Great Lakes region, and the ongoing concerns for development in rural and urban areas of the southeastern United States, both groups of students were in similarly dire economic and working conditions. All faced the distinct possibility that they would not do as well in life as their parents. Most of the students grew up with television and film and had a love of comedy when they arrived at college. -/- Entertainment and mass media contributed to the students' mindset and the lens through which they viewed and interpreted their lived experience. Comedic mass media in the form of television sitcoms and films were common choices for inexpensive entertainment, in their childhood, in their past, in their homes, and now in their college dorms and apartments. In asking students to connect their own history with cultural trends depicted in comedy in film and television, even through the history of television, gave the students a familiar venue to critically consider their own intellectual growth and development and that of American society as a whole. -/- Many of them were familiar with the internet, and enjoyed the internet as a source of information about celebrities as well as the history and episodes of their favorite television shows and films. Students are rediscovering and discovering television programs that their professors may have watched as children, with the availability of a wide range of comedy television programs available on cable, especially TVLand, Comedy Central and Nick-at-Night. -/- In this article I will elaborate on the value of comedy as a teaching tool for philosophers and professors. I will provide a number of examples, showing how comedy can provide fertile examples of ethical theory at work, and I will show how comedy can be used to clarify cultural norms and values. Finally, I will discuss the political activism and student empowerment involved in teaching Philosophy, Comedy and Film in southern Georgia. (shrink)

I set the stage for Socrates and Aristophanes’ alliance by beginning with Hegel’s question, what is the object of art?, in the context of his analysis of ancient Greek “art-religion.” Hegel traces the shifting object of art through a variety of artistic practices before arriving at comedy, which he identifies as the last stage of Greek aesthetic life. He finally asks, what is the object of comedy? Unlike other artistic practices that are positively defined by their created object (...) or creative activity, ancient comedy appears to be purely destructive, terminating anything that might be traditionally recognizable as an object of art. Hegel points to Aristophanes and Socrates as representing two sides of the defacement of the object of art-religion as such. Moving beyond Hegel, I turn to Aristophanes and Plato to consider how in the performative destruction of the object of aesthetic and philo- sophical reflection, something slips into being that may be identified as the phantom form of the Subject. (shrink)

This essay discusses five main topoi in the Divine Comedy through which teachers might encourage students to explore the question of the Divine Comedy’s treatment of philosophy. These topoi are: (1) The Divine Comedy’s representations in Inferno of noble pagans who are allegorically or historically associated with philosophy or natural reason; (2) its treatment of the relationship between faith and reason and that relationship’s consequences for the text’s understanding of the respective authoritativeness of theology and (...) philosophy; (3) representations in the Divine Comedy that relate to the question of the practical value of philosophical (not to mention theological) speculation; (4) the text’s treatment of the respective merits of practical and contemplative activities; and (5) its implicit defense of philosophy’s authority with respect to ethical and political questions. (shrink)

This chapter discusses the comic potential that originates in the way players of digital games take on the dual position of being at once a played self that is internal to the gameworld and a playing self that perceives this world from the outside. I first describe the comic attitude as it is defined within philosophy: as an attitude of distanced and dispassionate reflection towards an incongruity. I then show how the dual position of players during gameplay not only (...) is characterized by incongruities, such as contradictions between the apparent seriousness and the ultimate triviality of in-game actions, but also allows players to dispassionately reflect on these incongruities. I thus argue that digital gameplay entails the inherent possibility of turning players into both a comic object and a laughing subject. (shrink)

Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots (...) lose their necessity and so their redemptive conclusions; comic plots disintegrate into mockery and entertainment. In many cases, the dramas in question consequently fail to be art. This does not, however, mean that art ends: insofar as it inspires humans to a better understanding of their unity with the divine, it will continue to meet its mandate. But the lack of necessity in modern drama means we are free to prefer happy endings. Hegel’s seemingly arbitrary preference is, in the end, systematically justified. (shrink)

I discuss Dante’s understanding that human existence is “ordered by two final goals” and how, for Dante, this understanding defines philosophy’s and revelation’s respective scopes of authority in guiding human conduct. Specifically, I show that, although Dante subordinates our earthly beatitude to spiritual beatitude in a way that seems to suggest the subordination of the authority of philosophy to that of revelation, he in fact limits philosophy’s scope to an arena in which its authority is not only (...) legitimate but also crucial to the cultivation of the higher, spiritual beatitude of human activity. (shrink)

Greek tragedy, in Hegel’s Phenomenology of Spirit, represents the performative realization of binary political difference, for example, “private versus public,” “man versus woman” or “nation versus state.” On the other hand, Roman comedy and French Revolutionary Terror, in Hegel, can be taken as radical expressions of political in-difference, defined as a state where all mediating structures of association and governance have collapsed into a world of “bread and circuses.” In examining the dialectical interplay between binary, tragic difference and comedic, (...) terrible in-difference, the paper arrives at hypothetical conclusions regarding how these political forms may be observed today. (shrink)

Our reception of Hegel’s theory of action faces a fundamental difficulty: on the one hand, that theory is quite clearly embedded in a social theory of modern life, but on the other hand most of the features of the society that gave that embedding its specific content have become almost inscrutably strange to us (e.g., the estates and the monarchy). Thus we find ourselves in the awkward position of stressing the theory’s sociality even as we scramble backwards to distance ourselves (...) from the particular social institutions that gave conceptualized form to such sociality in Hegel’s own opinion. My attempt in this article is to make our position less awkward by giving us at least one social-ontological leg to stand on. Specifically, I want to defend a principled and conceptual pluralism as forming the heart of Hegel’s theory of action. If this view can be made out, then we will have a social-ontological structure that might be filled out in different ways in Hegel’s time and our own while simultaneously giving real teeth to the notion that Hegel’s theory of action is essentially social. (shrink)

The present essay argues that Bergson’s account of the comic can only be fully appreciated when read in conjunction with his later metaphysical exposition of the élan vital in Creative Evolution and then by the account of fabulation that Bergson only elaborates fully three decades later in The Two Sources of Morality and Religion. The more substantive account of the élan vital ultimately shows that, in Laughter, Bergson misses his own point: laughter does not simply serve as a means for (...) correcting human behavior but is rather the élan vital’s vital summons, the demand of life itself, that human beings challenge their obligations, question their societal forms, and thereby create new and, for Bergson, more ideal forms of life and community. (shrink)

Dave Chappelle took an extended leave from comedy for moral reasons. I argue that, while he had every right to leave comedy because of his moral concerns, he was not obliged to do so. To make this case, I present Chappelle’s argument that the potential negative consequences of his racial humor obliged him to leave. Next, I argue against Chappelle’s argument about avoidable harms as the harms are not his responsibility, he was not being negligent, and the benefits (...) of his humor outweigh the harms. I also argue in support of the intuition that another’s failure of comprehension or moral character, even if that failure will predictably result in harms to others, should not convert moral acts into immoral ones. (shrink)

Évoquer Dante Alighieri (v. 1265-67 – 1321), c’est avant tout penser au poète de la Divine Comédie, mais c’est souvent oublier qu’il fut aussi un philosophe médiéval. C’est ce que fait (re)découvrir Ruedi Imbach dans son opuscule paru chez Vrin en 2023. Il y regroupe quatre articles afin de démontrer que Dante se considérait lui-même comme un philosophe, et que l’histoire de la philosophie peut à bon droit s’en souvenir ainsi. Il ne s’agit pas là d’une simple querelle de titre, (...) puisque ce double regard, à la fois philosophique sur son œuvre poétique et critique sur son œuvre philosophique1, permet de découvrir une pensée plus méconnue de cette période, surtout dominée par les universitaires parisiens. Nonobstant sa forme de compilation, l’ouvrage s’articule autour des grands axes présentés dès les premières pages : l’analyse touche à la conception du langage chez Dante, à sa philosophie politique et au dialogue qu’il entretient avec la tradition philosophique. À travers chaque sujet, Imbach soutient que le fil conducteur de la pensée de Dante est l’élévation, à rebours de ses contemporains, de l’éthique au-dessus de la métaphysique. (shrink)

Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for (...) tragic plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where (...) x is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

I discuss Dante’s understanding that human existence is “ordered by two final goals” and how this understanding defines philosophy’s and theology’s respective scopes of authority in guiding human conduct. I show that, while Dante devalues the philosophical authority associated with the traditional Aristotelian emphasis on the significance of contemplative activity, he does so in order to highlight philosophy’s ethico-political authority to guide human conduct toward its “earthly beatitude.” Moreover, I argue that, although Dante subordinates earthly beatitude to spiritual (...) beatitude, he nonetheless maintains that philosophy’s authority to reveal a path to spiritual beatitude requires its fundamental independence from theology. (shrink)

Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character of (...) comedians and the aesthetic value of their stand-up and the debate over the ethical criticism of art, this article argues that it is reasonable to find a comedian’s performance less funny, because stand-up’s artistic success relies on this intimacy. It contrasts the comedy of Bill Cosby with that of Louis C.K. C.K.’s moral flaws are much more present in his comedy, and it is therefore more difficult to find him funny. Last, it is ethically permissible to enjoy their comedy, if no harm to others results, both because it does not corrupt the audience’s character and because amusement is valuable. (shrink)

"In 'I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind', William Day shows how Kaufman's Eternal Sunshine of the Spotless Mind should be considered part of the film genre known as remarriage comedy; but he also shows how Kaufman contributes something new to the genre. Day addresses, in particular, how the conversation that is the condition for reunion involves discovering 'what it means to have memories together as a way of learning how to be (...) together'. One of the most innovative aspects of Kaufman's filmic representation of such a conversation is its effect on the audience: how the narrative structure 'replicates for the viewer the felt contingency of memory that we attribute' to the characters we see onscreen - a couple contending with the interrelated experiences of remarriage and remembering." --David LaRocca, Introduction to The Philosophy of Charlie Kaufman, 12. (shrink)

The artform of standup comedy can be seen as having much in common with the discipline of philosophy, particularly with the way philosophy is carried out or “performed,” whether professionally or otherwise. There are, for instance, certain basic similarities between how standup comedians and philosophers value ideals of clarity and precision when it comes to the issue of determining what kind of language is best to employ if one seeks to either effectively deliver a funny joke, as (...) in the case of standup comedy, or if one seeks to effectively articulate and present an argument that can later be assessed as sound, as in the case of philosophy. The reason this is of note is because it is rooted in another similarity that serves not only to bring these two activities significantly closer but to isolate standup comedy from most artforms when it comes to how it conceives of matters pertaining to interpretation and purpose. More specifically, this is the fact that standup comedians and philosophers alike hope, and even expect on some level, that, in the best of cases, their respective jokes and reasoned arguments will compel some form of unanimous approval from those who properly understand and engage with their content. When this observation is combined with the additional observation that jokes can also serve as vehicles for imparting wisdom of a genuinely philosophical nature despite the fact that generating laughter rather than seeking truth per se represents standup comedy’s ostensive primary goal, this leads one to wonder how porous the boundaries that otherwise serve to distinguish these two activities might be. In particular, in light of the nature and scope of the many similarities that can be said to exist between them, which I lay out and discuss in the article, it seems that standup comedy could even be reasonably argued to be the artform closest to philosophy. (shrink)

The process of bringing an exhausted order to the grave to make space for the life of new societal practice and belief is represented in ancient Greek drama by the death of the gods who ‘’die’’ once in tragedy and once again in comedy. Hegel reads the second and final death of the gods in ancient comedy as enacting a kind of societal action through which a community reclaims its creative agency by destroying the social and political orders (...) that structured a tragic stage of history. Although Hegel highlights this creative action as going beyond aesthetic representation, he sees ancient comedy as achieving a superficial sense of freedom from tragedy, because the community sees itself as separate from its creation, which is destructible. For this reason Hegel moves beyond ancient comedy and locates comic resolution not in the representation of the death of the old gods on the ancient stage, but in the narrative of the death of Christ. This paper explores how Hegel’s reading of the incarnation and crucifixion of Christ mirrors the ancient tragedy and comedy. I argue that comedy, for Hegel, is realized through the story of the crucifixion, in which the comic community identifies with that which must be destroyed for the reconciliation of its society. (shrink)

The Southern Journal of Philosophy, EarlyView.

This chapter will evaluate humor used with the specific intent to reveal glaring epistemic errors that lead to injustice; flaws in reasoning so transparent that straightforward logic, argument, and evidence seem ineffectual against them, and in some cases, just silly to think such tools would be needed. Laughter seems to be one of the only sane responses. In particular, I will assess how humor can combat conspiracy theories, propaganda, lies, and bullshit. The last one I view in Harry Frankfurt's sense (...) of a complete lack of concern for truth or reality, which I think sums up former President Donald Trump's epic lack of curiosity which has a trickle-down effect on his ardent followers. The sort of conspiracy theories I will focus on are an intermingling of propaganda, well defined and analyzed by Jason Stanley in his work How Propaganda Works, and the "new conspiracism", outlined by Muirhead and Rosenblum in A Lot of People are Saying: The New Conspiracism and The Assault on Democracy. There are perils with this potency of pugilistic comedy. It is easy to punch up, humorously fume at the foibles and fantastical blunders of a world leader who seriously considers ingesting bleach to combat the plague, who also, without irony, regales us of his capacious mnemonic prowess in recalling the following words on a cognitive test: "Person. Woman. Man. Camera. TV." The self-proclaimed "stable genius" aced it. But when Trumpism and QAnon e.g., spreads among many who are impoverished and disempowered, the very people to whom Trump and others in his powerful orbit have incessantly lied, it becomes less clear how to wield truth-and justice-seeking wit. Are consciousness-raising comedians seeking to uncover and undermine obvious and dangerous falsehoods punching in the morally correct direction, and how can we tell? (shrink)

CATEGORY: Philosophy play; historical fiction; comedy; social criticism. -/- STORYLINE: Tim, a physics professor with a certain taste for young female university students, recently got a new appointment at a London university. But, as it turns out, he is still unsatisfied. Why? Is it because Rachael unexpectedly left him under strange circumstances? Or does it have to do with his sudden departure from another university? Or is it his research? When Tim meets Christianus for a brown-bag discussion on (...) philosophy and science, new facts and perspectives are revealed. -/- TOPICS: In the course of the play, Tim and Christianus discuss different metaphysical, epistemological, and ontological ideas. Many of these are either related to isssues in the philosophy of science (explanation, methodology, scientific investigation, etc.), or to issues in human psychology and the philosophy of mind (the self vs. the mind, dualism, ‘Who am I?’, etc.). In one scene, for example, Tim tries to invoke ‘Ockham’s Razor’ (or ‘Occam’s Razor’) to quickly dismiss some of Christianus’s metaphysical ideas (see Scene VII: Ockham’s Raisin; Scene XIII: The Raisin Tale Revisited); in another scene, Christianus introduces his ‘Postman’ scenario, and the idea that successful (‘scientific’) prediction or forecasting is not necessarily a sure sign of true understanding (see Scene XV: The Postman Always Turns Twice). -/- NOTES: This work features elaborate footnotes and comments (including full bibliographical references) by the author, to enhance the reader's experience of the play and its philosophizing characters. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they (...) can come together. (shrink)

R.J. Barnes (chapter 3) takes up the ways in which Sicilian comedy engaged current intellectual fashions, especially philosophy. Sicily was the home of rich and influential poetic and philosophical traditions that Epicharmus held up for comic examination and ridicule.

CATEGORY: Philosophy play; historical fiction; comedy; social criticism. -/- STORYLINE: Katherine, a neurotic American lawyer, meets Christianus for a philosophy session at The Late Victorian coffee shop in London, where they also meet Wendy the waitress and Baldy the player. Will Katherine be able to overcome her deep depression by adopting some of Christianus’s satisfactionist ideas? Or will she stay unsatisfied and unhappy by stubbornly sticking to her own neti-neti nothingness philosophy? And what roles do Baldy, (...) Wendy, and the Okefenokee Man-Monster have in this connexion? -/- TOPICS: In the course of this philosophy play, Katherine and Christianus discuss many things: friendship, a Renoir painting, global warming, elephant conservation, freemasons, Prince of Wales and his tiger-hunting experience in Nepal, Victorian Chartism and a Kennington Common daguerreotype, a Mortality Proof, and, last but not least, Baldy, Wendy, and the gory plot of the Okefenokee Man-Monster. -/- NOTES: This work features elaborate footnotes and comments (including full bibliographical references) by the author, to enhance the reader's experience of the play and its philosophizing characters. (shrink)

Based upon the concept of Law qualified in Monarchia, II.50, Dante was not only a general philosopher (a lover of knowledge) as well as a political disputant in his times, but also his primary contribution (not always obvious) in legal speculation could be demonstrated. In fact, if his thought reflected the platonic ordo sapientiae through a deep intersection between téchne and episteme (phronesis) toward a linguistic koiné, could we say the same thing on his concept of justice as a rational (...) ars boni et aequi? This essay aims to depict Dante as legal theorist of his times and theorist of Justice beyond them, adopting the hermeneutical point of view, not just as an interest into textual interpretation but referring his use of language as form of life and his works an inexhaustible sources of education for legal philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.1 (2003) 134-135 [Access article in PDF] Allen Speight. Hegel, Literature and the Problem of Agency. New York: Cambridge University Press, 2001. Pp. xii + 154. Cloth, $54.95. Paper, $18.95. Hegel's notorious use of literary references in his Phenomenology of Spirit has been a source of numerous interpretive difficulties, sparking disagreements not only about the actual referents of Hegel's literary allusions, but (...) also—and more importantly—about the meaning and purpose of such allusions. In this insightful, highly readable new book, Allen Speight challenges the stale orthodoxies that have pitted the Phenomenology's systematic/philosophical readers against its literary/historical ones, and offers an innovative interpretation that takes seriously the work's literary structure and allusions, while also giving due consideration to its systematic philosophical aims. Combining the rich sensibility of a literary mind with the careful rigor of a philosophical mind, Speight deftly shows how Hegel's Phenomenology is a work whose very aim, in part, is to transcend the traditional, but often limiting, dichotomy between philosophy and literature.As Speight explains it, the general purpose of this book is to make "a contribution to understanding the philosophical project of the Phenomenology and why that project requires Hegel's appropriation of literary works and forms as it does" (9-10). The book's philosophical point of departure is the critical mass of recent scholarship that sees Hegel's epistemological task in the Phenomenology as essentially Sellarsian in its critique of the "Myth of the Given." For Speight, the Hegelian critique of the myth of the given implies that all knowledge claims are essentially corrigible and socially mediated, and this implies—in turn—that any attempt to draw rigid lines of demarcation between a purely "systematic" and a purely "historical" or "anthropological" approach to philosophy and its problems must ultimately fail. From this interpretive vantage point, Speight holds, a strong case can be made for the essentially literary character of Hegel's Phenomenology, and the essentially philosophical purpose of his literary allusions. As Speight is careful to acknowledge, his own distinctive approach to the Phenomenology is not meant to rule out other, divergent emphases or interpretations, but only to provide "a way of better understanding the role that literature plays within the philosophical enterprise of the work as a whole" (18).Speight begins to deliver the details of his promised "better way" by investigating what he calls the "literary turn" or the seemingly sudden "eruption of the literary" that starts to motivate the Phenomenology's transition from the section on "Reason" to the section on "Spirit." For Speight, the shapes of Active Reason that are crucial in this transition begin to raise a new set of problems concerning human agency. Furthermore, it is not at all a coincidence that Hegel's heightened concern with agency at this juncture of the Phenomenology [End Page 134] is accompanied by an unmistakable burst of literary references. Rather, it is an indicator of Hegel's careful, deliberate, and self-conscious strategy of using literature to make a philosophical point about agency, since it is literature—according to Speight's Hegel—that gives us privileged access to the philosophical problems of agency and their potential resolution.For Speight, Hegel's use of tragedy gives us special insight into the retrospectivity of all human action; his use of comedy points to the theatricality (or what we might call the socially mediated expressivity) of all human action; and his use of the romantic novel points to the necessity (and eventually opens up the possibility) of the forgiveness implied by all human action. While Hegel had already made use of both tragedy and comedy in the Reason section of the Phenomenology, it is only in the Spirit section, Speight argues, that these literary-philosophical shapes are taken up (e.g., in Antigone and Rameau's Nephew) in a historically self-conscious way that can lead (via the "beautiful soul" novel) to the possibility of forgiveness and thereby instigate the transition to the Religion section.Speight's "better way... (shrink)

This essential reference text on the life, thought and writings of Plato uses over 160 short, accessible articles to cover a complete range of topics for both the first-time student and seasoned scholar of Plato and ancient philosophy. It is organized into five parts illuminating Plato’s life, the whole of the Dialogues attributed to him, the Dialogues’ literary features, the concepts and themes explored within them and Plato’s reception via his influence on subsequent philosophers and the various interpretations of (...) his work. This fully updated 2nd edition includes 19 newly commissioned entries on topics ranging across comedy, tragedy, Xenophon, metatheatre, gender, musical theory, animals, Orphism, political theory, religion, time, Hellenistic philosophy and post-Platonic ancient commentaries. It also features revisions to the majority of articles from the 1st edition, including 8 which have been completely re-written, and 12 which have had the references substantially revised. Reflecting the growing diversity of Plato scholarship across the world, this edition includes contributions from a wide range of scholars who enrich the field and provide students and scholars with a vital resource for study and reference. (shrink)

This paper considers two different kinds of philosophical interpretations of the movie Eternal Sunshine of the Spotless Mind. On the one hand, Eternal Sunshine as a thought experiment that can function as an argument against utilitarianism. On the other hand, Eternal Sunshine as an instance of the genre of the remarriage comedy. I will argue that these two kinds of interpretations are in conflict. More specifically, Eternal Sunshine, understood as a comedy of remarriage, cannot function as an argument (...) against utilitarianism, at least in the sense specified by Grau and Wartenberg. Finally, I will suggest a different way in which Eternal Sunshine, understood as a comedy of remarriage, might function as an argument against utilitarianism. (shrink)

This essay argues that humor can be used as an unstable weapon against oppressive language and concepts. Drawing from radical feminist Marilyn Frye, I discuss the difficulty of challenging systematic oppression from within and explore the capabilities of humor for this task. This requires expanding Cynthia Willett’s and Julie Willett’s approach to fumerism beyond affect to fully examine the work of humor in manipulating language, concepts, and imagery. For this expansion, I bring in research on feminist linguistics alongside other philosophers (...) of political humor to consider the connection between humor and world-making. I then link this with feminist world-breaking through Monique Wittig’s analysis of war machines and Trojan horses against heteropatriarchal language. Finally, I draw out the instability of humor as a war machine by investigating a bit where comedian Patti Harrison disguised herself as an official corporate brand platform to challenge the compulsory commodification of LGBTQ rights. (shrink)

It gives me great pleasure and honor to introduce myself as the incoming Editor-in-Chief of Polis: The Journal for Ancient Greek and Roman Political Thought. For the last decade I have served as an Associate Editor and the Book Review Editor of the journal. I am very excited about charting new paths for the journal, while continuing to publish first-rate scholarship in our area strengths. Although ‘polis’ is a Greek word that identifies a specific Greek historical political institution, in many (...) important ways the culture of Greek political thought interacted with the political culture of Regal, Republican, and Imperial Rome through Greek settlements in the Western Mediterranean, Roman military conquest, and cultural Hellenization. In the last year the editorial staff of Polis decided to expand the domain of our journal to include scholarship on Roman political thought and Greek-language political thought from the Hellenistic and Roman Imperial periods. Although Polis has been publishing reviews of books devoted to these new domains for several issues, it is quite gratifying to publish an entire special issue, edited by Grant Nelsestuen and Associate Editor Daniel Kapust, devoted to Roman political thought. Additional articles on Roman political thought are in the journal’s publication queue and we look forward to becoming an important venue for the publication of original scholarship and book reviews on Roman political thought and its subsequent reception, along with our original remit for Greek political thought and its reception. The editorial staff of Polis has undergone a number of changes in conjunction with my new role. First and foremost, my mentor and predecessor Kyriakos Demetriou has retired from the position of Editor-in-Chief and become a member of our Editorial Board. I have had the privilege of working with Kyriakos for over 15 years, during which time he transformed the newsletter of the Society for Ancient Greek Political Thought into a pre-eminent peer-reviewed academic journal. I may only hope 15 years from now, that Polis has continued to grow as a source for landmark scholarship on Greek and Roman political thought. During the editorial transition, Associate Editors Rosanna Lauriola and Essam Safty have left our editorial staff. We are grateful for their service to the journal and wish them well in their scholarly endeavors. Finally, I am pleased to announce several additions to our editorial staff. Dimitri El Murr, Professor of Ancient Philosophy at the Ecole Normale Supérieure (Université Paris Sciences et Lettres), has joined the journal as an Associate Editor responsible for the refereeing and editing of Francophone submissions to Polis. Demetra Kasimis, Assistant Professor of Political Science at the University of Chicago, has joined as an Associate Editor responsible for the refereeing of submissions on the political aspects of Greek literature (such as epic, tragedy, and comedy). Matthew Simonton, Associate Professor of History at Arizona State University, has joined the journal as an Associate Editor and Book Review Editor. Finally, Dr. Alexandra Wilding has joined our editorial staff as the journal’s copy-editor. Learn from and enjoy the scholarship of our current issue. Submit to Polis your scholarship on ancient Greek and Roman political thought. Be a part of the future of Polis. Thornton Lockwood Editor-in-Chief. (shrink)

Slurs have been standardly assumed to bear a very direct, very distinctive semantic relationship to what philosophers have called “neutral counterpart” terms. I argue that this is mistaken: the general relationship between paradigmatic slurs and their “neutral counterparts” should be assumed to be the same one that obtains between ‘chick flick’ and ‘romantic comedy’, as well a huge number of other more prosaic pairs of derogatory and “less derogatory” expressions. The most plausible general relationship between these latter expressions — (...) and thus, I argue, between paradigmatic slurs and “neutral counterpart” terms — is one of overlap in presumed extension, grounded in overlap in associated stereotypes. The resulting framework has the advantages of being simple, unified, and, unlike its orthodox rivals, neatly accommodating of a much wider range of data than has previously been considered. More importantly, it positions us to better understand, identify, and confront the insidious mechanisms of ordinary bigotry. (shrink)

Résumé -/- Cet article vise à expliquer comment Shakespeare articule une philosophie de la nature dans Le Conte d’hiver. Nous suggérons que la spécificité dramatique de la pièce ainsi que son schéma narratif expriment cette philosophie. D’une part, l’histoire racontée par la plume de Shakespeare peut montrer d’abord un éloignement de la nature pour laisser suivre une redécouverte et une renaissance de la nature – d’abord par son acception simple, brute, puis dans la compréhension téléologique de celle-ci. D’autre part, la (...) succession de la tragédie, la comédie et la romance illustre ces trois étapes. Le triomphe de la romance indique le triomphe d’une philosophie de la nature dont les causes les plus importantes sont d’ordres téléologique. -/- Abstract -/- This article aims to explain how Shakespeare shows a philosophy of nature in The Winter’s Tale. We suggest that both the dramatic and narrative specificities of the play express this philosophy. On one hand, the story told by Shakespeare’s writing can show a remoteness from nature which is to be followed by a rediscovery and a rebirth of nature – first with its rawest meaning and finally in its teleological understanding. On the other hand, the succession of tragedy, comedy and romance illustrates those three steps. The triumph of romance indicates the triumph of a philosophy of nature in which the most important causes are the teleological ones. (shrink)

CATEGORY: Philosophy play; historical fiction; comedy; social criticism. STORYLINE: Katherine, a slightly neurotic American lawyer, has tried very hard to find personal happiness in the form of friends and lovers. But she has not succeeded, and is therefore very unhappy. So she travels to London, hoping that Christianus — a well-known satisfactionist — may be able to help her. TOPICS: In the course of the play, Katherine and Christianus converse about many philosophical issues: the modern American military presence (...) in Iraq; the meaning of life; the ethics of abortion; assessing WHO death statistics; the potential personhood of foetuses; ancient Egyptian moustaches and beards; defining criteria for progress in human society; objectivity and subjectivity; Chicago futures trading developments; the virtues of cryonics technology; a U.S. Supreme Court case; important and unimportant knowledge; and spiritualist dualism vs. scientific materialism . NOTES: This work features elaborate footnotes and comments by the author, to enhance the reader's experience of the play and its philosophizing characters. (shrink)

This classic collection of essays, first published in 1968, represents H.L.A. Hart's landmark contribution to the philosophy of criminal responsibility and punishment. Unavailable for ten years, this new edition reproduces the original text, adding a new critical introduction by John Gardner, a leading contemporary criminal law theorist.

There are several conceptions of man in the history of philosophy. However, two considerable tendencies are recurring throughout modern history. A human being can be perceived as a complex mechanism or as a living organism. The response to the query has essential consequences in different areas. The article aims to provide a view of humankind that builds upon an organic conception of life, nature, and human beings, especially as elaborated by A. N. Whitehead and some of his followers. The (...) article also briefly examines the emergence and development of a mechanistic view. The historical overview exposes the close relationship between the worldview of a given era and the understanding of man. Finally, the article argues that the organic conceptions of life developed in the first half of the 20th century provide an essential alternative to mechanistic views and could help us to deal with several problems we are currently encountering. (shrink)

Alongside existing research into the social, political and economic impacts of the Web, there is a need to study the Web from a cognitive and epistemic perspective. This is particularly so as new and emerging technologies alter the nature of our interactive engagements with the Web, transforming the extent to which our thoughts and actions are shaped by the online environment. Situated and ecological approaches to cognition are relevant to understanding the cognitive significance of the Web because of the emphasis (...) they place on forces and factors that reside at the level of agent–world interactions. In particular, by adopting a situated or ecological approach to cognition, we are able to assess the significance of the Web from the perspective of research into embodied, extended, embedded, social and collective cognition. The results of this analysis help to reshape the interdisciplinary configuration of Web Science, expanding its theoretical and empirical remit to include the disciplines of both cognitive science and the philosophy of mind. (shrink)

John McGowan is a prolific humanities scholar whose writings engage topical issues in political philosophy, literary criticism and rhetorical studies. In Pragmatist Politics, American liberal democracy and its contentious philosophical commitments are his chosen subject-matter for a second time. What distinguishes this recent treatment from the one previous—aptly titled American Liberalism (University of North Carolina Press 2007)—is its more thorough grounding in the homegrown American philosophy known as pragmatism. In the introduction, McGowan announces the primary aim of his (...) project: ‘Pragmatism, a philosophy of possibility tied to a commitment to liberal democracy, provides me with the opportunity to articulate in these pages a more expansive vision of what our polity might be’ (xii). Besides ‘a more expansive vision,’ the author catalogues those challenges that the American polity faces today, from culture wars to environmental crises, from wars on drugs and terrorism to the failings in the policy agendas of both the political right and left. So, the question arises: What makes American liberalism capable of ameliorating, if not settling, seemingly intractable policy problems without sacrificing citizens’ effective freedom? The author provides an answer to this question in five chapters, the majority of which can be found in the initial three: the first, ‘The Philosophy of Possibility,’ explores American pragmatism’s potential as a resource in the fight against ideological extremism; the second, ‘Is Progress Possible?’ addresses how hope and progress shape a political environment in continual flux; the third, ‘The Democratic Ethos,’ speaks to the way of life that democracy engenders; and the final two chapters, titled ‘Human Rights’ and ‘Liberal Democracy as Secular Comedy,’ treat the topics of how to alleviate human suffering and bring a healthy dose of humor to the tragedy of liberal politics, respectively. (shrink)

The evidence-based medicine (EBM) movement is touted as a new paradigm in medical education and practice, a description that carries with it an enthusiasm for science that has not been seen since logical positivism flourished (circa 1920–1950). At the same time, the term ‘‘evidence-based medicine’’ has a ring of obviousness to it, as few physicians, one suspects, would claim that they do not attempt to base their clinical decision-making on available evidence. However, the apparent obviousness of EBM can and should (...) be challenged on the grounds of how ‘evidence’ has been problematised in the philosophy of science. EBM enthusiasm, it follows, ought to be tempered. The post-positivist, feminist, and phenomenological philosophies of science that are examined in this paper contest the seemingly unproblematic nature of evidence that underlies EBM by emphasizing different features of the social nature of science. The appeal to the authority of evidence that characterizes evidence-based practices does not increase objectivity but rather obscures the subjective elements that inescapably enter all forms of human inquiry. The seeming common sense of EBM only occurs because of its assumed removal from the social context of medical practice. In the current age where the institutional power of medicine is suspect, a model that represents biomedicine as politically disinterested or merely scientific should give pause. (shrink)

Why I thought it useful to offer an explanation of Hegel’s doctrine on the Incarnation was so that the reader may be empowered to identify Hegel’s influence in modern accounts of this mystery. Even if, in my view, Hegel’s interpretation of revealed religion differs greatly from Catholic Doctrine, it is not surprising to find the presence of some of his concepts in modern theology. In truth, what matters is not the theologian’s self-identification as Hegelian or as non-Hegelian, but whether or (...) not the theologian adopts Hegel’s concepts. This paper offers an explanation of the internal dynamism of Hegelian concepts and their relation to Christian doctrine in Hegel’s Phenomenology of Spirit. This research may help to show in what way it is possible to explain Christian religious doctrine with a philosophy other than the Thomistic one and how, at least in Hegel’s case, religious doctrine is changed and reduced to an erroneous philosophical content. Also, an attempt is made to show the internal “coherence” of this Hegelian re-reading of Christianity so that theologians may become more cautious about accepting an explanation of Christian doctrine simply because the Christian language is preserved in that explanation. (shrink)

The Oxford Handbook of the Philosophy of Love offers a wide array of original essays on the nature and value of love. The editors, Christopher Grau and Aaron Smuts, have assembled an esteemed group of thinkers, including both established scholars and younger voices. The volume contains thirty-three essays addressing both issues about love as well as key philosophers who have contributed to the philosophy of love, such as Plato, Kierkegaard, Schopenhauer, and Murdoch. The topics range from central issues (...) about the nature and variety of love, the possibility of its rational justification, and whether it is an emotion, to the significance of love for law, economics, morality, and free will. The volume also contains an introduction to the subject as well as essays on love’s relation to jealousy, biotechnology, religion, knowledge, and several other topics. This wide-ranging handbook will be a key resource for specialists working on the philosophy of love, and a helpful guide for those looking to learn more about the area. (shrink)

In this article, I argue that Dante's philosophical goal is what I term "self-angelizing," an ennobling philosophical education granting one the knowledge and power of an angel, which the medieval scholastics conceived as celestial intelligences. Dante's own path to self-angelizing begins in his early New Life, which approaches a living Beatrice as exemplar of terrestrial angels. Next, Dante's middle-period Banquet discusses following Beatrice into self-angelizing through an education in philosophical virtue. Finally, in his climactic Paradise, Dante performs his own self-angelizing. (...) The upshot of this journey is Dante's prophecy of an egalitarian transhumanism. (shrink)

Racial disparities in health outcomes have recently become a flashpoint in the debate about the value of race as a biological concept. What role, if any, race has in the etiology of disease is a philosophically and scientifically contested topic. In this article, I expand on the insights of the new mechanistic philosophy of science to defend a mechanism discovery approach to investigating epidemiological racial disparities. The mechanism discovery approach has explanatory virtues lacking in the populational approach typically employed (...) in the study of race and biomedicine. The explanatory constraints that form an integral part of the new mechanistic approach enable mechanism discovery to avoid the epistemic and normative shortcomings of the populational approach. The methodology of mechanism discovery can fruitfully be extended to the treatment and reversal of epidemiological racial disparities. (shrink)

Standpoint theory is an explicitly political as well as social epistemology. Its central insight is that epistemic advantage may accrue to those who are oppressed by structures of domination and discounted as knowers. Feminist standpoint theorists hold that gender is one dimension of social differentiation that can make such a difference. In response to two longstanding objections I argue that epistemically consequential standpoints need not be conceptualized in essentialist terms, and that they do not confer automatic or comprehensive epistemic privilege (...) on those who occupy them. Standpoint theory is best construed as conceptual framework for investigating the ways in which socially situated experience and interests make a contingent difference to what we know (well), and to the resources we have for determining which knowledge claims we can trust. I illustrate the advantages of this account in terms of two examples drawn from archaeological sources. (shrink)

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

Jonathan Y. Tsou examines and defends positions on central issues in philosophy of psychiatry. The positions defended assume a naturalistic and realist perspective and are framed against skeptical perspectives on biological psychiatry. Issues addressed include the reality of mental disorders; mechanistic and disease explanations of abnormal behavior; definitions of mental disorder; natural and artificial kinds in psychiatry; biological essentialism and the projectability of psychiatric categories; looping effects and the stability of mental disorders; psychiatric classification; and the validity of the (...) DSM's diagnostic categories. The main argument defended by Tsou is that genuine mental disorders are biological kinds with harmful effects. This argument opposes the dogma that mental disorders are necessarily diseases that result from biological dysfunction. Tsou contends that the broader ideal of biological kinds offers a more promising and empirically ascertainable naturalistic standard for assessing the reality of mental disorders and the validity of psychiatric categories. (shrink)

Foundations of Relational Realism presents an intuitive interpretation of quantum mechanics, based on a revised decoherent histories interpretation, structured within a category theoretic topological formalism. -/- If there is a central conceptual framework that has reliably borne the weight of modern physics as it ascends into the twenty-first century, it is the framework of quantum mechanics. Because of its enduring stability in experimental application, physics has today reached heights that not only inspire wonder, but arguably exceed the limits of intuitive (...) vision, if not intuitive comprehension. For many physicists and philosophers, however, the currently fashionable tendency toward exotic interpretation of the theoretical formalism is recognized not as a mark of ascent for the tower of physics, but rather an indicator of sway—one that must be dampened rather than encouraged if practical progress is to continue. -/- In this unique two-part volume, designed to be comprehensible to both specialists and non-specialists, the authors chart out a pathway forward by identifying the central deficiency in most interpretations of quantum mechanics: That in its conventional, metrical depiction of extension, inherited from the Enlightenment, objects are characterized as fundamental to relations—i.e., such that relations presuppose objects but objects do not presuppose relations. The authors, by contrast, argue that quantum mechanics exemplifies the fact that physical extensiveness is fundamentally topological rather than metrical, with its proper logico-mathematical framework being category theoretic rather than set theoretic. -/- By this thesis, extensiveness fundamentally entails not only relations of objects, but also relations of relations. Thus, the fundamental quanta of quantum physics are properly defined as units of logico-physical relation rather than merely units of physical relata as is the current convention. Objects are always understood as relata, and likewise relations are always understood objectively. In this way, objects and relations are coherently defined as mutually implicative. The conventional notion of a history as “a story about fundamental objects” is thereby reversed, such that the classical “objects” become the story by which we understand physical systems that are fundamentally histories of quantum events. -/- These are just a few of the novel critical claims explored in this volume—claims whose exemplification in quantum mechanics will, the authors argue, serve more broadly as foundational principles for the philosophy of nature as it evolves through the twenty-first century and beyond. (shrink)

An introduction to contemporary debates in philosophy of perception.

Noncognitivism about normative judgment is the view that normative judgment is a distinctive kind of mental state, identical neither to belief or desire, but desire-like in its functional role and direction of fit. Noncognitivism about intention (also called the “distinctive practical attitude” theory) is the view that intention is a distinctive kind of mental state, identical neither to belief or desire, but desire-like in its functional role and direction of fit. While these theories are alike in several ways, they have (...) rarely been discussed in concert. This paper studies the relation between these two theories, focusing on the question of whether noncognitivism about intention faces an analogue of the well-known Frege-Geach problem for noncognitivism about normative judgment. I argue that whether it faces the Frege-Geach problem depends on how it treats the distinction between what Anscombe called expressions of intention and personal predictions. I show that there is substantial pressure to treat that distinction as semantic, and that a variant of the Frege-Geach problem arises for versions of noncognitivism about intention that go this route. Yet some philosophers of action may be willing to resist this pressure, and I develop a pragmatic account of the distinction that would allow such philosophers to avoid the Frege-Geach problem altogether. I argue that this pragmatic account has significant independent appeal. Notably, it provides a way for noncognitivists about intention to undercut the force of a recent argument for cognitivism due to Berislav Marušić and John Schwenkler. (shrink)

This paper analyses the relations between philosophy of information (PI), library and information science (LIS) and social epistemology (SE). In the first section, it is argued that there is a natural relation between philosophy and LIS but that SE cannot provide a satisfactory foundation for LIS. SE should rather be seen as sharing with LIS a common ground, represented by the study of information, to be investigated by a new discipline, PI. In the second section, the nature of (...) PI is outlined as the philosophical area that studies the conceptual nature of information, its dynamics and problems. In the third section, LIS is defined as a form of applied PI. The hypothesis supported is that PI should replace SE as the philosophical discipline that can best provide the conceptual foundation for LIS. In the conclusion, it is suggested that the 'identity' crisis undergone by LIS has been the natural outcome of a justified but precocious search for a philosophical counterpart that has emerged only recently: namely, PI. The development of LIS should not rely on some borrowed, pre-packaged theory. As applied PI, LIS can fruitfully contribute to the growth of basic theoretical research in PI itself and thus provide its own foundation. (shrink)

In this article, I defend the pragmatic relevance of race in history. Kant and Hegel's racist development thesis assumes that nonwhite, non-European racial groups are defective practical agents. In response, philosophers have opted to drop race from a theory of history and progress. They posit that denying its pragmatic relevance amounts to anti-racist egalitarianism. I dub this tactic “colorblind cosmopolitanism” and offer grounds for its rejection. Following Du Bois, I ascribe, instead, a pragmatic role to race in history. Namely, Du (...) Bois argues that race is an “instrument of progress” that advances emancipatory struggle. He appeals to the writing of history—or historiography—to cultivate group consciousness of historical memory in order to strengthen intragroup bonds among the racially oppressed, especially black Americans, and create intergroup bonds that reconstruct the republic on the basis of universal ideals. I detail Du Bois's defense of the black struggle for freedom in the wake of the U.S. Civil War to provide a concrete illustration of “spirit” in American history. (shrink)